Marilyn Manson – The High End of Low Album Review

What can I say? I am not a huge fan of Marilyn Manson but my interest on his newest album “The High End of Low,” pave way for my pen to do its usual activity.

Marilyn Manson ‘s The High End of Low is an embodiment  of his aspiration as a musician. Why did I say that? After his hibernation from the music arena, much to having soul searched for what he really wants to create as a human entity, he goes back to the scene astoundingly with a 15-track album that talks about his experiences with women; words that he could have had said to his ex-wife which he finds it something to laugh about, his liking to the number 15, and stupid teenage girls’ appreciation of music/bands. There are also lines there that refer to teenage shootings. I know that Manson has a distinctive reasonable mind, but to write about these without a doubt comes from something that is indepthly sane.Or insane? Hmmm…


His seventh album resuscitates him with his longtime buddy guitarist/bassist Twiggy Ramirez. Actually, some songs here are a bit more hard hitting and finely detailed than any of Manson’s records. Maybe it is from the fact that sometimes reunions create deeper parody. “We  were together before, now we are together again, then let us do this right, or let us do this profoundly than the past, or whatsoever. “ That could be the thinking behind this.

However, there are songs that are quite below par in comparison.  “Devour,” is one, leaving behind trails of questionable doubt to who you would give the credit to; to Manson or to a band trying to sound like Manson. But somehow, there is an upward trend when you change the track to “Pretty As a Swastika,” because of its hammering beat and the part where he screamed, “Let me show you where it hurts,” which makes the listeners feel of Manson’s pain. Some of the decent songs in the album are “We’re from America,” and “I Have to Look Up Just to See Hell.” Similarly decent is “Arma-Goddamn-Mutherfuckin-Geddon,” which offers Manson’s conventionality, nevertheless, not bringing out the Manson effect that he once had on his listeners.

The idea that Marilyn Manson’ s time has passed, just like what others are saying, is somewhat precarious. Some reviews likely lean towards praising him having a different “Mansonic” act, while others say that Manson is just trying hard to revive his so-called past career. No one ever knows, except you, if you take time to listen to his hoarse throaty vocals and heavy synths.

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