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The Mechanical Animals
09/15/1998 3:00 AM, Yahoo! Music
Mike Lipton
With the phenomenal success of last year's anti-rock opera Antichrist Superstar, Marilyn Manson quickly became the artist parents love to hate--and, perhaps, the most unlikely pop icon since Alice Cooper. But more than a devil-worshiping narcissist or a cunning philosopher, Manson nourishes and feeds off of the fringe of pop culture--and even a casual student of rock knows that most rebels gravitate towards the center (i.e. where the money is).So, with more than a little help from co-producer Michael Beinhorn (Soundgarden), Mechanical Animals is not only Manson's most listenable record to date but it marks something of a reincarnation. Instead of buzzsaw guitar riffs and searing screams, the disc employs an arsenal of often-subtle production textures (swirling, acoustic, and tremoloed guitars), easily decipherable vocals, and a decided leaning toward glam rock. After listening to "The Dope Show" and "I Want To Disappear," it's not a stretch to envision Manson covering Bowie's straight-up rocker "The Jean Genie." "I Don't Like The Drugs" mixes a take on the riff from "Fame" with a larger-than-life Queen-like chorus while the mostly-acoustic "The Speed Of Pain" recalls spiffed-up T.Rex and, sweetened with female singers, may turn off Manson diehards. Where previous efforts employed an anarchy of sound, now, even the well-placed bits of techno-inspired noise evidence a method to Manson's madness. Following in the footsteps of countless iconoclasts, the ghoulish prophecies of Superstar have given way to jaded disillusionment. On "Rock Is Dead," Manson loudly proclaims "Rock is deader than dead, shock is all in your head."
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