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A Born Villain

   When it comes to Marilyn Manson, I have respect, enjoyment, distaste, and a world of memories. My first proper gig was the Dead To The World tour’s stop in Albany, NY with L7, though I was introduced during the Portrait of An American Family era. His music provided the background to more than one significant event in my life. My interest began waning around the time of Mechanical Animals and nearly completely dropped off with The Golden Age of The Grotesque. After the fact, I looked over and found inspiration in The High End of Low and Eat Me, Drink Me. Nothing could top the Portrait-Smells-Antichrist period for me and I don’t expect anything to. Perhaps it is nostalgia more than anything substantial, but I’m too biased to tell.

   That said, the promotional media for Born Villain really piqued my interest. The short film released some time ago enticed me to no end and set the stage for my anticipatory wait for the album. The return of Twiggy both to the band in general and to a major songwriting role specifically is something I’d long felt the band needed.

   Unfortunately, the album as a whole didn’t grip me much at all. The only stand out tracks were Pistol Whipped, Overneath The Path of Misery, The Gardener, Children of Cain, Murderers Are Getting Prettier Every Day and Born Villain. I could do without the rest. Are six tracks worth picking up the whole record? Probably, yes. Is it an essential album? Not at all. If these six were an ep, I’d answer differently.

A Prettier Hate Machine

The 1989 industrial rock classic gets a polishing off and some sweet loving…

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