In a metal scene dominated by a conveyor belt of "boy's own" bands like Linkin Park and Deftones there are few performers with either the balls or the brains to deliver truly dangerous rock and roll. The Golden Age of Grotesque proves that as far as frighteningly flamboyant rock and rock melodrama goes, Marilyn Manson stands alone.
A sprawling carnival of grinding slabs of guitar and grotesque vocal wails saw through gargantuan electro-metal architectures carved with portentous spoken-word rasps ("Better of Two Evils"), auto-erotic S&M hymns ("Para-noir") and an entire hall of mirrors of skewered big band swing ("Doll-Dagga-Buzz-Buzz Ziggety-Zag"). Teaming up with EBM (that's electro-body-music to the uninitiated) stalwart Tim Skold of KMFDM has clearly allowed Manson's creative juices to nourish a bracing conceptual clarity.
Make no mistake, brash anthems such as "mOBSCENE" and "Slutgarden" are tailored to get a rise out of moralists. But actually, the overt shock rock tactics of previous albums like Anti-Christ Superstar (1996) are almost entirely absent. Discarding previous obsessions with soft targets like religion and politics Marilyn emerges as an infinitely more dangerous rock 'n roll demon guiding the listener through a non stop erotic peepshow into the inner chambers of his own mind.
In interviews Manson has made no bones about his focussed desire to champion what he terms "degenerate or dangerous art". Equal parts self-referential parody and cutting creative commentary, with The Golden Age of Grotesque, Manson's obsession with vaudeville decadence results in an exhilarating affirmation of art per se.
This weekend Scott Stapp, the voice of legendary rock band Creed, kicks off his world tour in South Africa. Read More »
Add your review
Ciara’s sixth studio album has beat and sex appeal but lacks heart. Read More »
Add your review
South AfricaCity Press
Johannesburg CBDResourcing Solutions
HousesR 4 950 000
HousesR 3 300 000
HousesR 3 500 000