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Thread: Retrospective: The Golden Age Of Grotesque

  1. #21
    YoureAlreadyHere's Avatar
    Join Date: 01.13.14
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    My favorite visual is manson on stilts next to the elephant... maybe its my love for Dali



    I love this album, and it was my first Manson album gifted to me at the age of 13-
    I loved the sheer confidence because it was saturated in this depraved new world- post love, post fame, post green; of course my teenage self mused over the album, without pause. It was fast- both lyrically and musically; it was raw & graphic, no bars; it was playful in a snide way any lover of sarcasm could relate to; poetic & full of puns; the imagery was a display of artwork all on its own. ... ..

    I'll always love the album, every song having its own facets that I adore.

    for funsies, my first self portrait showcases my MM GAOG necklace. =P
    --------------------------------

    Don't tell me what to do.

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  3. #22
    I've whited out my name. Halo Infinity's Avatar
    Join Date: 02.02.13
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    The Golden Age of Grotesque has certainly been a lot better than I remembered it this time around. Some tracks that weren't my favorites when I first listened to it, are now favorites. I would've never guessed, as I actually used to skip The Golden Age of Grotesque, Ka-boom Ka-boom and Spade. It also reminds me why some albums definitely need time to be appreciated. And not that I didn't appreciate it back then either, but it has certainly aged very well to me. It's also one of those Marilyn Manson albums that I can listen to from start to finish in order. (Or most of it in that way for that matter. That's one of the ways for me to determine whether an album is a favorite or not.)

    And well, this thread would seem just a bit incomplete without at least just one actual post of Doppelherz. And so, well, here you go. Have fun.

    Last edited by Halo Infinity; 04-12-2017 at 06:51 PM.

  4. #23
    kill's Avatar
    Join Date: 07.31.17
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    It was, to me and many many others, a disappointment upon release and marked the beginning of a slump that he's yet to climb out of. It was very weak - lyrically, musically, visually - compared to what had come before. And if anything I like it less today than when it was new. It has some good songs, but they're held back by the lyrics and production.

    I actually really like Skold's solo stuff and his work with KMFDM, but his MM work just never clicked for me.

  5. #24
    Lunatic/Mystic's Avatar
    Join Date: 07.27.17
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    I will always have special feelings for TGAOG, since it's the very beginning of my worship of MM. I had known TGAOG by heart before I listened to any other MM album. One of my favorite memories is coming back from school with a simmering frustration and fury, playing "Better of Two Evils" as loud as I could, and imagining myself singing it in front of all those kids who were bullying me and spreading vicious rumors about me. The badass spirit of TGAOG really helped me cope with all the bullying I experienced. I would have killed myself without it. That was the first (but not the last) time that MM saved my life.

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  7. #25
    theimpaler's Avatar
    Join Date: 03.16.17
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    Quote Originally Posted by S.D. View Post
    No, I haven't tactically missed out EAT ME, DRINK ME, although I do look forward to discussing that at some point soon, maybe we'll even try something on Provider Module next year when it's a decade old.
    Anyway, I was listening to This Is The New Shit this afternoon, and the following thought occurred. No enormous retro-review of the record (yet), just a notion that I wanted to share, and hopefully encourage others to add their recollections, ideas, and impressions of the album after thirteen years or so.

    Is there a funnier Manson lyric than "Now it's 'you know who', I got the 'you know what'. I stick it 'you know where', you know why, you don't care..."?

    It might even sum up The Golden Age Of Grotesque more effectively than any other critique; meaningless, instantly recognisable, risqué sloganeering that's both direct and ambiguous at the same time. I think Manson's aim with the album was danceable, radio-friendly noise pollution with no real agenda other than to amplify things he'd already said, using hyperbolic, cartoon versions of himself to do so. It's essentially 'Meta' pop music before that term became widely used. A polarising album for some, although arguably the first time he and his band had been having real fun since Smells Like Children. Definitely dance music for the damned.
    I think that line you quoted sums up HIM. We all know who and what he has, where he's gonna stick it and we've no clue why and don't gaf.

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