Eat that, drink that, funnyman!ĮAT ME DRINK ME 1.48 Even a damn fine bass line can't soothe me now. Because "murdercute, happyrape, murdercute, happy, happy, happyrape" is a HORRIBLE lyric, and I know you can't blame Marilyn for all society's ills - although I'm sure he'd love you to - but this sickens me to my stomach. Because now I'm going to get all Daily Mail on Marilyn's ass (although I fear he'll like that). I'll take ANYTHING! 1.37 And now even more so. I'm starting to crave a song about Satan that doesn't play like a overblown cartoon. YOU AND ME AND THE DEVIL MAKES 3 0.21 Oh dear. For there are plenty of people who don't like change. For even though the synths have been turned off and the guitars up, this music is resolutely stuck in the 1980s, and it's resolutely unaware of its own ridiculousness. Maybe this branch of goth is one of life's constants. MUTILATION IS THE MOST SINCERE FORM OF FLATTERY 0.01 Goodness, is it? Who knew! 1.39 "Fuck you, fuck you, fuck you too!" This sounds like Badfinger (70s soft rock, boys and girls) in a bad mood. An old trick, but it works!ĪRE YOU THE RABBIT? 0.44 Whereas this is all about fizzing, Spinal Tap guitars, and there's no bass line at all, which is why it compels me not. This track takes Peter Hook's dour, descending pattern from Joy Division's New Dawn Fades, and it holds all Marilyn's ranty lyrics (about doing the do "until its unsafe") together nicely. A lovely chorus too - "Don't break my heart/And I won't break your heart-shaped glasses/Little girl, little girl." Ah, I love the smell of paedophilia and misogyny in the morning! 3.03 Annoyingly, though, it's the best track so far.ĮVIDENCE 1.39 When you're listening to a middle-aged gruffster wailing over some naff riffs and you're definitely not a goth but still fairly intrigued, you ask yourself this: what keeps goth atmospheric? I reckon it's a good bassline. 1.39 Ah, this is the Lolita track he's been banging on about in interviews. 0.48 Until Manson's voice cuts in, ageing it by decades. It's the Strokes crossed with Depeche Mode, and it promises much. HEART-SHAPED GLASSES (WHEN THE HEART GUIDES THE HAND) 0.15 One minute, here's some! An intro full of buzzy guitars, synth fuzz, rat-a-tat drums and a synthesised glockenspiel. And what it needs, ironically, is a big kiss of life, to stop it drying out like a corpse. For can goth music stop being croaky and dated? Can it really evolve? Or has it evolved already? Is emo, all that heart-pounding stuff with its heavy guitars and intense sentiments, its wayward-haired heir? 3.33 It might be, but God, this isn't emo, that's for sure - it's evolution in reverse. JUST A CAR CRASH AWAY 1.45 Another "romantic number", where love burns down everything it sees, gets my mind wandering. It sounds like Guns N' Roses fronted by old man Steptoe. THEY SAID THAT HELL'S NOT HOT 0.05 Who said it's not hot? The undead? Air-conditioning salesmen from the underworld? The world must know! 2.49 Climate debates aside, what strikes the ear most about this song? Not the intriguing pseudo-confession to Marilyn's ex-wife - "I gave my soul to someone else/She must have known" - but the croaky, dated squall of it all. 1.22 A nice line here too - celebrity strolls on red carpets are "staged circuses for schoolgirls". But this is guitar rock, more the Knack than the Cure, more post-Nirvana grunge than Fields Of The "Neph". Goth is doom fed through the sound of synthesisers on overdrive. For when you think of Manson, you think of thick, dark electronic sounds, and that glitchy version of Tainted Love he did that sucked its blood dry. RED CARPET GRAVE 0.21 But something is different about our pan-stick-cheeked chum. Is Marilyn branching out a bit? 0.45 "It was a day to take the child out back and shoot it." Not quite, then. Here's a powerful, melodic, angry riff that reminds me infinitesimally of Inside by Stiltskin - there's a blast from the past. PUTTING HOLES IN YOUR HAPPINESS 0.29 Moving on. Then, to a thicket of doomy, broody guitars, he whisks her off, burns her, and eats her ashes. Saucy! We kick off with a jolly tale of a cold Christmas morning, Marilyn growling about a girl who says "I love you so much/You must kill me now". And guess what? This is his romantic record, one he has described as having "a cannibal, consumption, obsessive, violent-sex, romance angle, but with an upbeat swing to it". IF I WAS YOUR VAMPIRE 3.56 In pop's glittering parade of glowstick-toting new ravers, forthright young ladies and chuggy, cheeky indie bands, where do goths fit in? Today, we'll find out! For Brian Warner, known best to us as Marilyn Manson, that shy, scarlet-lipped 38-year-old who keeps a foetus in the drawing room, 19-year-old girlfriend Evan Rachel Wood in the bedroom and a burlesque-star ex-wife (Dita Von Teese) on the shelf, is back, back back.
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