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Product Description
Review
Disaffected youth of the world, rejoice! After four years the self-proclaimed 'God of F***' is back to tap into your tortured psyches again and in many ways it's like he's never been away.
This is the sixth studio effort from Marilyn and on the surface it seems to be very much business as usual; restless undead and self-mutilation? Check. Internal demons wrestling with grinding guitars? Check. Beanpole white-skinned sexual deviant with his lipstick and ripping tent-canvas voice? Check, check, check and check.
It seems strange to be blasé about Manson and his songs, dealing as they do with murder, mutilation and all shades of 'blimey, that's a bit of a wrong 'un' sexual practice but in the decade and more he's been singing them for a deeply divided public it does feel there can't be many more places to go in terms of subject matter.
But wait! The Antichrist Superstar has had the crushing personal blow of his marriage to Dita von Teese coming to an end, bringing understandable pain and heartbreak but perfect material for this record. Ladies and gentlegoths, I present to you Eat Me, Drink Me: Marilyn Manson's break-up album.
Opening the batting for the blood-soaked misery eleven, ''If I Was Your Vampire'' is slow and cavernous and doesn't immediately grab but gives a tone of what's to come, a circular tale of love won and lost filtered through Manson undeath cultishness. Still, he gave a Christmas setting, so that's nice.
The tone never really gets out of the processed grind gutter but that's no great loss as there are some pleasures down there. ''Just A Car Crash Away'' and ''Evidence'' both show why a tortured artist is a good artist, as well as the musical intelligence Manson brings to his self-conscious darkness. The first single, ''Heart Shaped Glasses'', proves itself too with an undeniable hook and drive which sets it apart from the rest of the album.
Recorded in the studio attached to his home, EMDM is a stripped-down affair with far less of the near-operatic gothstrionics which have charicterised earlier efforts. The choruses aren't as howling and the Alice in Wonderland imagery doesn't always chime but it's an effective album and reminds you why the man has done so well by ploughing his own fairly unique furrow. That said, this is one for understanding fans rather than new converts. --Harry Holgate
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Customer Reviews
Most Helpful Customer Reviews
18 of 19 people found the following review helpful
Format:Audio CD
Anyone wanting another 'Anti-Christ Superstar' 'Mechanical Animals' or 'Holywood' type album from the irrpressable Mr Manson should forget it. This is an entirely different animal, but retains everything to make this a great, although not quite classic, album. One very important word of warning, though. Don't judge it on one listening! Hearing it all the way through in the car I felt it was 'good' but not 'superb.' Listening again at home I began to hear far more of what it was that made it so much better.
If I had to describe the style to someone who had never heard it, it would be best summed up as a cross between Bowie, Bolan, Bauhaus and Killing Joke, with more of an early 70's-metal feel. There is far more melody than his earlier albums, and Manson has a greater vocal range than previous songs may have given him credit for. This is accompanied for the most part by a relentless and sustained beat, especially on tracks such as 'Evidence' and 'You and Me...' similar to the way 'The Beautiful People' bases itself around the original drumbeat.' At the same time, this is matched superbly by the rythm of Manson's voice, fitting around the beat like a glove, or rather a knuckleduster.
Manson as usual plays with words and phrases in the same way Marc Bolan could draw more out of a lyric than at first appeared. There are various references to Alice in Wonderland, and 'Mutilation' carries the interesting 'Rebels without applause' twist. However, whilst the lyrics are poetic, the songs are busrting with negative emotion - anger, sadness, hate & vitriol. Like Gary Numan's 'Pure,' where you left the album feeling some of the pain for the loss he had recently gone through, you have the same sort of understanding for Marilyn Manson's feelings by the end of 'Eat Me, Drink Me.' Even if you did not know it before, it is so clear that he has just had a very bad experience in love, and the mixture of emotions comes though both in the lyrics and in the music.
Initially Tim Skold's giutar solos were abit like Stilton - wonderful stuff but a little too much to have time and time again. On the second play, though, I felt the solos added more to the songs than I gave them credit for at first glance. The solo's are varied and give focus to the intensity of the songs without being an 'ego-trip' for the guitarist which has often been the downfall of many a good album.
The only real criticism I have is nothing to do with the completed album as such, just the 'bonus remixes' at the end. Why? What's the point? If I love the 'heavier' style of Marilyn Manson, than turning a damn good song into a dance track does nothing for me... If I want a dance track, Marilyn Manson isn't going to be anywhere near the top of the average playlst!
Ultimately, whilst this hasn't the 'Classic' qualities of 'Antichrist' or 'Holywood,' this is an album well worth listening to. Forget what you know (or think you do) about Manson and listen to this with an open mind... Then listen again. This is one that will grow on you and has far more to offer than most 'music press reviewers' are currently giving it credit for.
If I had to describe the style to someone who had never heard it, it would be best summed up as a cross between Bowie, Bolan, Bauhaus and Killing Joke, with more of an early 70's-metal feel. There is far more melody than his earlier albums, and Manson has a greater vocal range than previous songs may have given him credit for. This is accompanied for the most part by a relentless and sustained beat, especially on tracks such as 'Evidence' and 'You and Me...' similar to the way 'The Beautiful People' bases itself around the original drumbeat.' At the same time, this is matched superbly by the rythm of Manson's voice, fitting around the beat like a glove, or rather a knuckleduster.
Manson as usual plays with words and phrases in the same way Marc Bolan could draw more out of a lyric than at first appeared. There are various references to Alice in Wonderland, and 'Mutilation' carries the interesting 'Rebels without applause' twist. However, whilst the lyrics are poetic, the songs are busrting with negative emotion - anger, sadness, hate & vitriol. Like Gary Numan's 'Pure,' where you left the album feeling some of the pain for the loss he had recently gone through, you have the same sort of understanding for Marilyn Manson's feelings by the end of 'Eat Me, Drink Me.' Even if you did not know it before, it is so clear that he has just had a very bad experience in love, and the mixture of emotions comes though both in the lyrics and in the music.
Initially Tim Skold's giutar solos were abit like Stilton - wonderful stuff but a little too much to have time and time again. On the second play, though, I felt the solos added more to the songs than I gave them credit for at first glance. The solo's are varied and give focus to the intensity of the songs without being an 'ego-trip' for the guitarist which has often been the downfall of many a good album.
The only real criticism I have is nothing to do with the completed album as such, just the 'bonus remixes' at the end. Why? What's the point? If I love the 'heavier' style of Marilyn Manson, than turning a damn good song into a dance track does nothing for me... If I want a dance track, Marilyn Manson isn't going to be anywhere near the top of the average playlst!
Ultimately, whilst this hasn't the 'Classic' qualities of 'Antichrist' or 'Holywood,' this is an album well worth listening to. Forget what you know (or think you do) about Manson and listen to this with an open mind... Then listen again. This is one that will grow on you and has far more to offer than most 'music press reviewers' are currently giving it credit for.
3 of 3 people found the following review helpful
Format:Audio CD
I agree with the guy or girl below me, it isn't all bad and I'm going to see him on the 5th of December and I wanted to get familiar with his new stuff first. There is a link to get tickets above but any way although it isn't a great change to his style and was more an album for him it was still great. I love some of the songs like Heart Shaped Glasses and If I was your vampire and Eat Me Drink Me is ok. Another good thing about this album is it's uniqueness. Like all of the albums it is a new style like after Smells like children he changed from his spooky kids style and went into metal. Then Mechanical Animals was much nicer and softer so everyone liked it, afterthat he moved onto sort of normal and hard rock in Hollywood and in Golden Age of Grotesque he started to really use electrical effects on guitar and the microphone and finally he's changed again so don't put him down for it. I still recommend this to any true MM fan.
3 of 3 people found the following review helpful
Format:Audio CD
This is one of my least favourite Marilyn Manson Albums, having heard all of them from Protrait of An American Family right through to this one I can't help but compare it to the rest of them. There are some decent songs on this album, heart shaped glasses and if I was your vampire are both very fine songs. But are merely ok and don't fit. All the other albums of his I've listened to seem to have a structure to them but these all seem to be put in just to fill space. Not a comment I'd ever think I'd say about a Marilyn Manson album but it had to be said. On its own merits and if you've only heard Marilyn's songs from this album then it's a fairly good album. But if you've heard the rest be warned, it's just not as good as the others.
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Most Recent Customer Reviews
The lowest point of a career in turmoil
What can I say about this album? I was a Manson fan for years and loved everything. Holy Wood was genius on the back of Antchrist Superstar and Mechanical Animals. Read more
Published 3 months ago by Mr. C. J. Parker
Mr. Manson different side
Ok, this album is not the tipical Marilyn Manson album.
Everybody who loves Antichrist, Mechanical and HolyWood are not going to enjot it. Read more
Everybody who loves Antichrist, Mechanical and HolyWood are not going to enjot it. Read more
Published 4 months ago by Lazarus
don't be so quick to dismiss
Oh how dismissive we can be, a brief listen & condemned straight away, and yes i was guilty too. Antichrist it ain't but we are many years down the road & Manson still has much to... Read more
Published 12 months ago by A. Chapman
Don't be a sheep - give it a try
With everyone and their mother having an opinion on this album, I felt it my duty to throw in my opinion. Read more
Published on 26 April 2010 by Lee Swift
Embarassment
This is so depressing to listen to when you have known Manson at his absolute best (Antichrist Superstar / Mechanical Animals). Read more
Published on 7 Feb 2009 by L. Copeland
On par with Portrait
Having read the reviews i thought it would be good to add my own, i was a big fan in the 90's,Portrait being one of the best albums ever but didn't like Holywood or the last album... Read more
Published on 28 Jan 2009 by SJA
Midlife Crisis?
Midlife crisis?...OK maybe that's unfair. Heartbreak can happen at any age and although painful has been the inspiration and driving force of some of the most powerful music and... Read more
Published on 30 Aug 2008 by Martin Katscan
Manson 'Pop'! Has the 'real' Marilyn bubble burst?
As you'll have gathered a mixed review - if you like the heavy, 'rolling riff' stuff (mobscene etc) chances are you won't like this. Read more
Published on 9 July 2008 by Mr. G. Stubbs
Different, yet good
If you are in to the normal heavy gothic metal you hear from manson then this isnt for you, it is a totally new style of music from him, yet has somne amazing rock songs in it -... Read more
Published on 17 Mar 2008 by Kathryn D. Mckay
Don't judge it too quickly
Quite frankly one of the best albums of all time. Yes it takes a bit of listening too, to get into it. Read more
Published on 22 Jan 2008 by Tom E
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