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Thread: EMDM and THEOL are outstanding albums!

  1. #31
    DecayingSinner's Avatar
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    Quote Originally Posted by Zimscum View Post
    I don't know if you're a musician or not. But if not I'll explain his technique to you.
    Grab a shitty guitar. Probably BC Rich with a shitty Agathas body. Plug into shitty Line6 Spider. Turn Gain all the way up.
    Remove the following strings from shitty guitar D G B E leaving only the low E and A. Drop the low E to a D to minimize demand on finger dexterity.
    Play basic palm muted power riffs.
    Never practice your parts for live performances.
    Steal riff from previous bass player and attempt to pass it off as your own.
    Recycle riffs you used from ONE album ago.
    Leave band and return a few years later because you can't make it on your own. Your side projects are boring and your other bands caught onto your lack of talent and never called you back.
    Rejoin Manson but make no effort to improve your skills live. Get demoted to bass player. Get left out of most recent recording entirely.
    Hang self in janitors closet.
    Bam! Twiggy's creative process.
    😀😀😀😀😀😀😀😀😀
    you do know almost all of THEOL is in standard tuning, except for Pretty as a Swastika and We'reFrom America?

    My line 6 amp is offended as well. I love that thing.



  2. #32
    HEAVEN UPSIDE DOWN Hazekiah's Avatar
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    Quote Originally Posted by arkahno View Post
    the last part of the tour when manson and co. performed wight spider and dried up tied and dead to the world were also really amazing things to see.
    PREACHING TO
    THE CHOIR
    \m/ -________- \m/




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  4. #33
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    Quote Originally Posted by Hazekiah View Post
    This is truly chilling.
    "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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  6. #34
    GAFSTER FuckmanQ's Avatar
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    He needs to bring that song back I would love to see it live.
    A system organized around the weakest qualities of individuals will produce these same qualities in its leaders.

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  8. #35

    Join Date: 03.28.13
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    For those that don't like The High End of Low, recut it with the Alternate Versions. I'm of the mind they might not even be "alternate" versions because if so that would be an absurd number. Hell, the Into The Fire one has slightly different lyrics and a different vocal track entirely. It's very different, and if you're not one of the metal-only people you'll probably enjoy it. The problem with THEoL to me was choosing the wrong cuts of the song for the album and Manson being a mess. You know what? I wanna go back in time and give him a castle or something in Europe to seclude himself in like Bowie did. 'Geddon was literally my first Manson song (Saint's Row baby). The alternate version kicks ass but always made me think there was something up with the final track listing (aka Interscope being dicks)



    Nobody listens to Geddon (I'm lazy ok) and goes "we should make a partial-acoustic version". But a man having a mental breakdown and his stoner best friend? They totally sit down, take a hit off a fat blunt and make that shit. To quote Batman, "it just raises too many questions". Also, regarding 'Geddon, the "fuck, eat, kill, etc" is a reference to 1996. "Anti-things I fucked and ate" Had Manson been in a far better place and had creative control, the album would have been perfect. It's still like nothing else out there. Manson might not be perfect but nobody else makes Marilyn Manson albums. He's not in a genre, he is a genre. I've listened to THEoL so many times it's not even funny. Same for EMDM. Probably more than several other albums. Personally, I feel like the "making the listener feel the emotions" method worked perfectly, but when I listen to music the emotion is the first thing I'm listening to, and I relate to the emotions.
    Last edited by HG131; 02-02-2017 at 11:42 PM.

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  10. #36
    Enname's Avatar
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    Wight Spider live was all it should have been.

    I have a deep and abiding love of The High End of Low. And as such I have no problem with its flaws (well..), because they are just as specacular as the rest of it. It is also and album that is relatively easy to listen to in terms of single songs, or segments. Easy to just pick out a part and enjoy it, without feeling like I have somehow skipped a narrative or a progression that I should experience more fully. And this is a pleasure to have for a change, to be able to hold up something like We're From America and be able to see its connection to everything else they have done, but not have to have more than that if I chose. It is angry, and sad, distressed and a bit petty all at once. Fab.

    Eat Me, Drink Me is a bit more difficult for me, but certainly I now forever associate Alice in Wonderland with it now, which is a significant feat. It is, well, rather beautiful. Which is not something I would normally say about a Manson album as a whole. They are many things, but 'beauty' is not usually enough. For Eat Me, Drink Me though, it feels just right.
    Quid ignorantia sit multi ignorant.

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  12. #37
    Idunno's Avatar
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    Quote Originally Posted by Enname View Post
    Eat Me, Drink Me is a bit more difficult for me, but certainly I now forever associate Alice in Wonderland with it now.
    Why?
    "We were too dumb to run, too dead to die."

  13. #38
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    Marilyn Manson's a strange case, like Pink Floyd or Jimi Hendrix; he released prolific work to immediate public acclaim and controversy within a maelstrom five years that changed music forever. It was always up to him what happened next, he could've retired and done the overblown 'reunion' thing twenty years later, which would be around the time we're in now.
    I think Manson's more fond of the long game, keep making music and art HE enjoys, and wait for everyone else to catch up. It's a gamble move, because along the way there's always fools who want you to keep making your breakthrough albums over and over, mostly for their benefit rather than for the world's.

    Lest We Forget was the first official ten years, and it wrapped up a discernible period of Marilyn Manson as established entity. All the tropes and traits we came to expect or understand from Manson were dot-lined and signed with that collection, and since then he's enjoyed re-shaping the public's idea of what 'Marilyn Manson' is for. The thing is, records like The Pale Emperor (and perhaps SAY10) will remind everyone of that first decade, but it's the in-between projects that people will start revisiting and discovering now. As Earthling and Outside were to Bowie, so EAT ME, DRINK ME and The High End Of Low shall become to Manson, with all those beautiful paintings, strange interviews, and odd TV appearances he did during that ten years to punctuate it all.

    I think also, the majority of Manson's fanbase were always about ten years his junior (the stalwarts at least), so the ideas he was expressing in his thirties on these two albums are now starting to make more sense, and apply more directly to our personal lives and thought processes.
    "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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  15. #39

    Join Date: 03.28.13
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    Quote Originally Posted by S.D. View Post
    I think also, the majority of Manson's fanbase were always about ten years his junior (the stalwarts at least), so the ideas he was expressing in his thirties on these two albums are now starting to make more sense, and apply more directly to our personal lives and thought processes.
    Eh, I'm over 20 years his junior and in a lot of ways I see the newer albums as more relatable. Something I've used to describe Manson before is "the eternal teenager". He's always got his finger on the pulse of what's going on musically, and he's always done it better. Every album, with the exception of Born Villain (honestly I think that's why it's weak, he was trying to make a Marilyn Manson album), exemplifies that year and period in music, but at the same time does it from a completely different headspace. EMDM? Think about what was going on in rock in 2006 and 2007. Now think about the themes, theatricalness and musical direction of EMDM. The diss track towards emo with him outright saying "I play this better than you" is also kinda a dead giveaway. Hop forward two years to 2009. Stoner hippie indie stuff is huge. What does Manson do? Pick up Twiggy, now a indie stoner hippie, and make another album together with an eclectic but definitely influenced by that sound (and if you do the alt version recut idea shiiiiiit). TPE? The slow, methodical pacing combined with Faustian themes just happens to be at the same time as doom metal makes a comeback. It works backwards too. Emotionally, I think everyone comes to The High End of Low after something's seriously wrecked them emotionally. Until you've felt, for whatever reason, the anguish that Manson conveys on it, it's just unrelatable. With EMDM, I feel the people that can appreciate it best usually are people who have been in toxic or abusive relationships while also an emotional wreck. Not so unrelatedly, it's one of the most popular amongst women in the fandom. The thing I think most people don't understand about music and especially Manson is that there's more to it than any objective quality. Music is supposed to make you feel something, and Manson is an expert. He can put you in his mindset with a song better than pretty much anyone. Even when the music isn't complex and the lyrics don't have the depth of the Marianas Trench, there's still nothing like a Marilyn Manson album. No matter what genre the album is technically in, it sounds like nothing else released in that genre. If someone's picky/elitist about genres, their feathers get ruffled whenever Manson touches one they don't like. Usually, it's the metal-only people. I don't think it's age that opens EMDM and THEoL up to people, it's the emotional experiences conveyed in the music. A lot of people who didn't have them when they're younger get hit with them when they're older and the world they've been building for 10+ years falls apart in front of their eyes, but a lot of people get them in youth too, with early experiences with emotional abuse and emotional dependency. Especially Manson fans with mental illnesses. BPD and depression especially.

  16. #40
    benis Mok's Avatar
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    While The High End of Low certainly has it's flaws, it's always resonated me because to me it's what madness sounds like in musical form. Manson was in a dark place then, and having been in that kind of place myself, I will always have a special place in my heart for it.

    THEOL is, what I would describe, a "haunting" record. It creeps into the corner of your mind and stays there. Least how it was for me. I still remember when I had first gotten it. I had just turned 14, so my dad took me to Best Buy and being still new to Manson, picked out his most recent record. By the time we got home, it was raining and dark outside, so that perfectly fit the mood of the album for my first listen.

    "Wight Spider" was an instant favorite of mine, and even inspired a short story turned novella called Schism I wrote back in High School. Unfortunately it is lost now due to computer failures :/ "We can't haunt this home, home anymore" is one of my favorite parts in a Manson song too. "Four Rusted Horses" is also a stand out great track.

    "Arma-Goddamn-Motherfuckin-Geddon" is a really fun, stupid (purposely) song too lol, so catchy.

    Again, it's not perfect and I can understand if people don't like it, but I quite like it myself. "Polarizing" for sure. I do wish some lyrics had been changed around, though. "Rapist werewolves" being the biggest one. I was unsure how I felt about it for a while, but over the years, like EMDM, I really warmed up to it.
    Last edited by Mok; 02-03-2017 at 05:44 PM.

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