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Thread: Thinking Out Loud: Marilyn Manson on drugs, morals and Scooby-Doo

  1. #11
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    I think I've said this before, but although it does seem like the ball gets dropped on 'unreleased' material occasionally, I still admire that Manson only very carefully decides to tap into the nostalgia vein every once in a while. I think if he over-did it on that front it would detract from his contemporary releases. Even now I'm noticing that fans have been going back to records like The High End Of Low specifically because Manson never made a big fuss over them. We can revisit these albums because they have now comfortably become part of a retrospective canon.

    Also, a big (whether illusory or not) aspect to the Manson legend has always been the relative mystery surrounding past releases. I've always wanted to see more studio footage/photography from every album since Holy Wood, but I guess the fact that we never really see that side to Manson adds to the character of a record, because you have to go and listen to it for the experience.
    He almost pastiched Instagram/Facebook/Tweeting about a new album before those platforms existed during The Golden Age Of Grotesque, and I think it's worked in his favour not to do it for albums since.
    "the Serpent was more crafty than any beast of the field which
    the LORD god had made
    "

    m e m e n t o m o r i . p o s t m o r t e m


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  3. #12
    Fucked up and down. Mansoniser's Avatar
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    Quote Originally Posted by S.D. View Post
    I think I've said this before, but although it does seem like the ball gets dropped on 'unreleased' material occasionally, I still admire that Manson only very carefully decides to tap into the nostalgia vein every once in a while. I think if he over-did it on that front it would detract from his contemporary releases. Even now I'm noticing that fans have been going back to records like The High End Of Low specifically because Manson never made a big fuss over them. We can revisit these albums because they have now comfortably become part of a retrospective canon.

    Also, a big (whether illusory or not) aspect to the Manson legend has always been the relative mystery surrounding past releases. I've always wanted to see more studio footage/photography from every album since Holy Wood, but I guess the fact that we never really see that side to Manson adds to the character of a record, because you have to go and listen to it for the experience.
    He almost pastiched Instagram/Facebook/Tweeting about a new album before those platforms existed during The Golden Age Of Grotesque, and I think it's worked in his favour not to do it for albums since.
    I never noticed that before, he rarely even mentions previous work unless directly asked about it or unless he's saying "this album sounds similar to...." which is quite rare for any artist now, I mean Lady Gaga did a career retrospective performance when she released her third album, Alice Cooper spends half of his time re-recording School's Out, and most other artists are always pushing remastered albums, it's actually quite odd that Manson has never made a huge deal over stuff like that.
    Maybe that's why everyone goes insane when things make it through the cracks like the Apple of Sodom video.

  4. #13
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    This is it. We could create an endless, circular argument over potential release/tour/collaborations not transpiring, but in all honesty these are not 'Chinese Democracies'.
    You also have to be really careful with nostalgia and self-reference, lest it seem like running out of ideas or parody. I don't think he's ever crossed that boundary. Even Arma-Goddamn-Motherfuckin'-Geddon seemed to nestle into the canon neatly, because he was almost echoing himself deliberately to prove a point; throw together all the most overt things you've done and feed it back to the record company with a dollar sign on.

    I think he mentions past works infrequently, and very carefully. When he discussed EAT ME, DRINK ME and The High End Of Low during the promotion for Born Villain, he never said he disliked those records, he simply claimed they no longer represented what he was feeling. That's actually very savvy, because whilst critics were trying to savage The High End Of Low, Manson politely admitted some of his live performances could have been better, and didn't really talk about the record. He often uses very broad descriptions to promote an album, which saves having to dissect them too much.

    The last time he really discussed an album's creation was probably Antichrist Superstar, and even then it was for the purposes of imprinting himself on the public conscious, and promoting his book.
    "the Serpent was more crafty than any beast of the field which
    the LORD god had made
    "

    m e m e n t o m o r i . p o s t m o r t e m


  5. #14
    HEAVEN UPSIDE DOWN Hazekiah's Avatar
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    Well, that was the most recent and EXTENSIVE case of him discussing the creation of an album, at least. He may not have written a book about them (yet!), but he's still had plenty to say about writing and recording each album since then, too.

    And, to be fair, Manson CAN'T really remaster many of his classic, older albums. Thanks to the hypocrisy of Trent Reznor, the masters seem to be lost forever for Portrait of an American Family, Smells Like Children, and Antichrist Superstar, so that's pretty much that. Also, didn't Manson officially release the video for "Apple of Sodom" when it finally saw the light of day? I wouldn't exactly call that "making it through the cracks."

    It just took a while longer than expected, lol...that's all.

  6. #15
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    My point wasn't so much that he doesn't discuss a new record he's promoting, rather that he doesn't do the 'Muso' thing of sitting and explaining the entire experience to people. He did a lot of press for Holy Wood and The Golden Age Of Grotesque where he spoke freely about the albums, their themes, collaborators, inspirations and intent, but still didn't reveal enough that it spoiled anything. Whether its in pursuit of ambiguity, you still have to work for your enjoyment of a Manson album, which fans prove time and again by dissecting them afterwards.

    I think also, regarding past albums, he's often keen to reference them, but not to offer any real critique. He might have expressed frustration with the recording process of Portrait... and ...Superstar, but outside of the book you can tell he's always been very proud of those records. A little like SAY10 seems to be, he's fond of repeating the title of an album for press, but not saying a great deal, it's quite clever psychologically.
    "the Serpent was more crafty than any beast of the field which
    the LORD god had made
    "

    m e m e n t o m o r i . p o s t m o r t e m


  7. #16
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    In fact he often reflects on the mood or atmosphere that influenced those involved in making the various albums, and how the different experiences of recording them and being inspired provoked the new music. Like this time, it is all a conversation about being back in the South and the particular 'gothic' atmosphere that was present during Antichrist Superstar, and that sense of danger. With The High End of Low it was recapturing the comraderie and somewhat crazy brotherhood that he had with Twiggy, and how that played out in their inspiration and production. None of this is speaking directly to the music or its creation, but is nonetheless fascinating.

    I suspect it also is why there is dissappointment when the album doesn't sound like previous ones he had been talking about in promotion, precisely because he had not been talking about it at all directly. It may help give some ideas for what is going on, but it is not necessarily the be all and end all.
    Quid ignorantia sit multi ignorant.

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