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Thread: HEAVEN UPSIDE DOWN - Fan Reviews / Discussion

  1. #31
    Ruination cataract777's Avatar
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    Quote Originally Posted by JT_ View Post
    Two things have become real old in his songwriting -
    Repeating every line multiple times, and the constant word play. It was cool when he started doing it around GOAG, but it's just become boring ie: 'cocaine and able'? haha just stop.
    This is one of my gripes with the album. And I know people will say that’s just the way Manson does things with his new music, but the repetition ruins Say10 for me. Sometimes the repetition works and sometimes it doesn't.

    Quote Originally Posted by JT_ View Post
    Who is drumming on this record? it's as lifeless as Chris Vienna's playing. I miss Ginger Fish.
    It’s Gil as far as we know. He had said, when I asked him on Twitter, he had just completed drums for the new record.

  2. #32
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    Quote Originally Posted by cataract777 View Post
    This is one of my gripes with the album. And I know people will say that’s just the way Manson does things with his new music, but the repetition ruins Say10 for me. Sometimes the repetition works and sometimes it doesn't.



    It’s Gil as far as we know. He had said, when I asked him on Twitter, he had just completed drums for the new record.

    That's surprising because Gil is obviously an amazing drummer, and over qualified for MM, but I really don't hear many live drums on this record, it all sounds like a processed machine.

  3. #33
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    Quote Originally Posted by JT_ View Post
    That's surprising because Gil is obviously an amazing drummer, and over qualified for MM, but I really don't hear many live drums on this record, it all sounds like a processed machine.
    Same here. But I remember when WKWYFL was released, someone asked the same thing, and Cringeon had said it had a mix of a drum machine and live drums.

  4. #34
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    Manson has been using drum machines since Portrait. It's part of the sound, but Gil is not a live only drummer. He was in the studio tracking all live performances for HUD. Extremely talented player who knows how to play what's right for the song.

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  6. #35
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    Quote Originally Posted by Cringeon View Post
    Manson has been using drum machines since Portrait. It's part of the sound, but Gil is not a live only drummer. He was in the studio tracking all live performances for HUD. Extremely talented player who knows how to play what's right for the song.
    True, what I forget, as someone who doesn’t know a lot about instruments, is that there’s a thing called a drum pad that he can play off of. I had no idea lol. Like he does during hat instrumental before Sweet Dreams.

  7. #36

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    It's not a bad album nor really good. It just sounds uninspired and like a collection of old cut ups that didn't make the finals from ideas for the past four albums of songs collectively. Manson has nothing new to say? It feels this way at least or he expected changes from things said that haven't come to action, so he says things again. Again. Again. Did you hear him yet? Again then.
    This album feels like he has been just partying and he and his team have seen how he continues to make the press in frequent waves, so they said let's get together and make an album now and we need to tour to show that MM is still a working performer, and we need some current money for our "lifestyle", so gather up and throw old things all together again and put something out and a tour together, so we can skate on that into a few more upcoming years and press stories, media marks. You can't have the young kids forget that there is still a Marilyn Manson while current fresh trouble makers are claiming him as one of their own.
    Blood Honey, Heaven Upside Down, and Threats of Romance are all good and I can buy that, but have heard it all before as a longtime fan. Saturnalia is alright, but I can not give full positive credit, because it's such a copy of older and original classic songs that have laid this song out with soul and effect before this, it just sounds too close. Also, a lot of what is good about this album is old hooks and tricks of musicians from the seventies and eighties, so while some of it sounds good, it's still nothing fresh and exciting and doesn't make for any progression on Manson's side to make me feel that anything new has pushed Marilyn Manson again to the forefront and that is disappointing. It truly does seem major steps back from The Pale Emperor and I felt that TPE gained Manson and whatever band he creates, positive respect and a new audience of expectations away from those in our own fanbase who often just want him to stay within the confines of all that he has been known for before.
    I guess it just comes down to becoming just a party record to celebrate, as a Manson fan.

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  9. #37
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    This is probably the MM album i had more trouble getting into.

    I played it like 6 times already and still don't love it.

  10. #38
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    Quote Originally Posted by JT_ View Post
    Who is drumming on this record? it's as lifeless as Chris Vienna's playing. I miss Ginger Fish.
    I think Revelation #12 would be a monster of a song, those riffs, and aggression are absolute ACSS, but it just lacks any punch whatsoever.
    Same with WKWYFL, that drumbeat in the chorus is so void of drive, right where this song should explode we get these style-less drum machine like back beat.

    I think people will not be able to hear the similarities because the band that is playing them is not the same.
    I can dissect it, and hear it, but on the surface Manson's comparison doesn't come across.
    None of this bothers me, because I don't like live drums on a Manson record. If anything, I've always felt he's shied away too much from going full-tilt industrial, since, after all, Marilyn Manson used to bill itself as an industrial rock band. I'm completely fine with programmed drums on a Manson record, for the same reason I'm comfortable with them on a Ministry or NIN or KMFDM or Skinny Puppy album.

    If I had my druthers, Manson wouldn't have a live drummer at all, but would have a dedicated, full-time keyboardist [with more competence than Pogo or Vrenna].
    To revenge the misdeeds of the ruling class, there existed in the middle ages, in Germany, a secret tribunal, called the “Vehmgericht.” If a red cross was seen marked on a house, people knew that its owner was doomed by the “Vehm.”

    All the houses of Europe are now marked with the mysterious red cross.

  11. #39
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    Revelation #12

    LOVE the bass in this. Comparisons to other songs get old but I think as more people listen to the album they'll realize it's unavoidable. Unlike THEOL which was just kind of "Manson by the numbers" by virtue of Twiggy returning, this seems like a real conscious effort to meld the old and new. Manson constantly references lyrics to past songs and even sonically a lot of songs seem similar without just being lazy covers. This is the album's Irresponsible Hate Anthem #2. It comes right out the gate strong, but as the song goes on it finds its own groove, which is something else I love about the album. It has the right blend of familiar motifs that longtime fans will love but there's a lot of new stuff here too. I heard a lot of people say it doesn't sound as powerful live, I'll take their word for it but I think it's just fine.

    Tattooed In Reverse

    For those of us who loved TPE and wanted to see more of that type of sound be explored this song delivers. I love a lot of the electronic work on it too, it really helps set it apart from Manson's other stuff without it feeling like a gimmick song that's just trying to be different because Manson ran out of ideas. There's a trend with songs that start out feeling really familiar, but by the middle of it it totally goes, dare I say, upside down and suddenly you're in another headspace which I love.

    We Know Where You Fucking Live

    I didn't care much for this song outside of virtue of it being the first real longform clue into the new album. I don't hate it, I don't begrudge anyone who loves it, it's just not for me. To compare it to Rev 12, that kind of set its self apart, but if I want a nice and heavy Manson song there's just others I prefer more.

    SAY10

    The preview clip we got months ago mystified me, and it's cool to see experimentation on an album I initially feared was just gonna be "heavy" but ultimately this song didn't resonate with me. I'd be interested to see Manson try for another real heavy 'trap' type sound again. I think I didn't like this one just due to how repetitive it was. It's really great at first but the song just kind of meanders around.

    Kill4Me

    This is probably my favorite track off the album. It's so different and I feel like it's the most subversive, fucky one. It's playing chicken with us. It sells itself as this song manufactured for Hot Topic fangirls, but there's more below the surface. I feel like at first it's just another romance song, but looking at it deeper it really seems to me to be about religion itself. The relationship between a disciple and a god, one who is vengeful and violent. Between this and 'Tattooed' I'd love to see Manson do a more electronica focused album.

    Saturnalia

    I was really disappointed that the album didn't hit February 14th as promised, but hearing that this song came from the delay, I couldn't be more thrilled. What a fantastic, unique track. Similar to how other tracks have kind of bled in with past work, this has some backmasking at the beginning that reminded me of Tourniquet and Astonishing Panorama. The bass is incredible. Tyler's guitar work is also a great addition that bleeds into the back, creating atmosphere for each song, which is something that made TPE so amazing. Synth is great too. Since Pogo departed I feel like layered synth work was something missing from a lot of recent material but this album has a lot of that, I'm glad to see it finally making a comeback. I feel like that's probably the strongest way it just 'feels' like some of the older stuff without relying on anything too obvious. This is probably my second favorite track off the record.

    JE$US CRI$I$

    I think this is possibly the worst song Manson has ever released.


    Blood Honey

    Another great track that's unique. Piano, soft synth and a kind of trap beat before it goes into your standard rock stuff. It's trying new things but it's not getting too big for itself and re-inventing the wheel. Love, love, love the synth and that hook. "Upside down, upside down." Tyler on guitar is amazing once again, and the song goes from kind of a ballad to progressively heavier without TRYING to be 'heavy'. It's genuine, full of the emotion and angst that I think resonated with a lot of people with EMDM and THEOL. It's a transition, someone pouring their heart out. Everything starts so calm and logical but all those emotions pour out and you just can't control it anymore. While the lyrics don't change, the vocal and guitar performance nail this feeling perfectly. One of my favorites from this album.

    Heaven Upside Down

    Title tracks are usually my favorites. Antichrist Superstar, Shadow of the Valley, Golden Age, Eat Me Drink Me, I Have To Look Up Just To See Hell (which should have just been called The High End Of Low), Born Villain. This isn't my favorite, though. But it's still a great track. Something about it reminds me a lot of Holy Wood's more vibrant tracks for some reason. The female backing vocal adds some pop too, and plays into this album subtley incorporating small motifs from previous albums that aren't OBVIOUS, but will have longtime fans remembering Posthuman, Paranoir, etc. The mixing on this album is incredible because with some of the past work I sometimes have to struggle to hear the bass but it's really vibrant here, as with the rest of the album. Nothing is just playing the backseat to Manson's vocals, every piece of the track is an integral part to the whole and it's a big part of why I love this album.

    Threats of Romance

    I was really intrigued to listen to this song when reviews mentioned it being a very piano driven Bowie-type track. It has a really strong 70's feel to it without feeling dated, trying to imitate the old without benefiting from the new. This is a very heavy Bates track, to anyone who has seen Guardians of the Galaxy, his love of classic rock shines strong here. I think it plays to some of my favorite aspects of this album, trying to challenge what Marilyn Manson is without throwing the baby out with the bath water, which I feel like EMDM and TPE did in some regards.



    All in all this is a welcome addition to the Manson catalogue for me and hits much more often that its misses. TPE was a great departure and something unique, and HUD is continuing that trend of trying some new stuff while, incorporating elements some longstanding fans might have been missing from the previous album. It feels like a great marriage of old, recent and brand new, rather than how EMDM and TPE were just really stark and stood apart. I love how you can be listening to a track that feels very familiar, like something you've heard before, and suddenly it does a total 180 and sounds unlike anything you've ever heard from Manson. But it doesn't get lost in trying to please old fans with tracks like Kill4me charting new ground for Marilyn Manson. The mixing is also fantastic as I mentioned before. Nothing drowns anything else out, except for maybe the drums feeling like an afterthought a lot of the time. I'm eagerly awaiting the next album, and I think this will tide me over. I would really love to see a very electronic heavy album.

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  13. #40
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    I also loved the female vocals during Heaven Upside Down. Although the moment the vocals appear is very short, it adds a whole lot. I remember being surprised when I first heard them. Such a good track.

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