Marilyn Manson / BORN VILLAIN: I will make this brief so we can get into a track-by-track breakdown. Born Villain moves along like a raw murder spree. The 8th Marilyn Manson release contains some of the best driving guitar riffs MM and Co. have ever composed. No tricks or gimmicks this time kiddies, just good old fashioned, brass-knuckled rock. As always the lyrics are tight but the music arrangements are what really shine on this release. I hear elements of several of the previous records without being predictable, whether it be a singular sound or an entire riff, you can definitely tell Mr. Manson has not lost sight of the roots of his band. Eat Me Drink Me and High End of Low took some time to grow on me but Born Villain encapsulated me immediately and has me in a sonic stranglehold I cannot and will not escape. Let’s speak of the tracks individually.
Hey, Cruel World – If there’s one thing Manson has done consistently, its open each album with a great track. Born Villain is no exception. Hey, Cruel World is a great album opener. What starts as a simple sample and moves into a mild verse (much like many tracks on Eat Me, Drink Me) and then comes the hard hitting chorus, so reminiscent of The Suck For Your Solution and that era of Manson’s arrangements. Great guitar riffs and a driving composition thrust you into the throws of Born Villain’s Side 1.
No Reflection – The first official single from the album and another catchy, guitar-driven track that to me, is reminiscent of late 80’s/early 90’s rock (which I adore). The pounding beat is what first straps you in while the main guitar riff bolts in through the door of guitar noise and simultaneously punches you in the gut while entrancing you with a wicked smile. After two listens I couldn’t get this melody out of my skull.
Pistol Whipped – Yes the title leaves little to be desired but there are some great elements in this track, beginning with the sample of a spinning revolver cylinder (instantly reminded me of Count to Six and Die, a Holy Wood favorite of mine). Once the echoing cylinder sounds descent, a fuzzy muted guitar comes droning in. This song screams modern day Joy Division to me. Maybe it’s the simplistic riff with the repetitive lyrics, but it’s not a bad thing at all. The chorus is a crescendo of noise with a classic Manson chorus, “You’re a little pistol and I’m ____ing pistol whipped.” The title seems less silly now. Very Antichrist Superstar sounding guitars here; which is a priceless bonus.
Overneath the Path of Misery – Easily one of my favorite tracks and not just because of the Macbeth quote in the synthesized spoken word opening, although it is a tasty little nugget for us literary junkies. I love the grinding guitar that kicks the spoken words out of the way like a maniac who won’t share the road. The riff is very reminiscent of a White Zombie/Rob Zombie style riff (like I said 90’s rock). The style of the vocals is classic Manson; stylish, clever and through gritted teeth. The way he screams “I” in the chorus for some reason reminds me of the way Kurt screamed “Get Away” in the chorus of Scentless Apprentice. This is a very simple yet impactful, standout track.
Slo-Mo-Tion – This track begins with a bone-rattling bass line and live drum kit. A fuzzy guitar soon enters as well as Manson’s vocals. This is another favorite track of mine off of the album. Another view from Manson’s seeming obsession with TV/film. Another well constructed track with a great duo of guitar riff and bass line. You don’t even notice the electronic beat until the second verse which is then followed closely by a guitar solo reminiscent of the guitar sound from the Portrait or Antichrist Superstar eras.
The Gardener – I am still on the fence when it comes to this track. It contains one of the most profound lines on the record, "I'm not man enough to be human, but I'm trying to fit in, and I'm learning to fake it," yet at the same time the poetry-jam delivery of the verse is semi off-putting. The beat and bass line are solid, and accompanied well with the background noises and sounds. The guitar seems to grow as the song progresses, becoming more predominant as we ascend to the chorus. However, overall the track is just okay for me and I seem to be skipping it as of late.
The Flowers of Evil – Another less than stellar song title, in my opinion, and sadly I feel the same about the track in general. The Smells Like Children style sound bites as an intro and the closely following bass line start the ignition of this slow going roadster of a track. A howling guitar riff in the background while Manson sings the verse makes the whole track just okay for me at this point. Similar to how They Say That Hell's Not Hot made me feel, this chorus is just okay as well. Nothing really special or innovative on this track almost seems like a filler track. I’m not even thrilled with Manson’s vocals on this song either.
Children of Cain – A Manson record wouldn’t be complete without a Bible reference. One of the more electronic tracks on the record, it starts off with some synth lines, a decent beat and the first verse. This is one of those cleverly crafted lyric tracks. The musical arrangements are mid-range but the vocals are sharp, intelligent, and witty- the way a classic Manson song should be. I am particular fond of the vocals in this song, another case in point where less is more.
Disengaged - To be brutally honest, I just don’t like this track. Maybe it will grow on me and maybe it won’t. Either way, it’s a skippable track and I have very little to say about it other than it’s mediocre at best in every aspect. The chorus is the word “Disengaged” repeated several times and the verses are meh. Very reminiscent of Eat Me, Drink Me (album).
Lay Down Your Goddamn Arms – This is where the album picks up again for me. One of my favorite guitar riffs on the album but what really did it for me is the metal pounding percussion sample in the background. Great vocals and great passionate lyrics make this a sleeper favorite for me.
Murderers are Getting Prettier Every Day – One of the heavier tracks on the album once the chorus kicks you in the jaw. A pulsing guitar riff opening that bleeds into a fantastic up-tempo drum beat kicks this track off. Abrasive vocals/lyrics piercing your brain and scarring your mind that build into a brutal chorus, reminiscent of the days of the Antichrist Superstar record. Let’s not forget the spastic guitar solo straight from the fingers of a psychopathic, driving the track home to a panting Manson who closes the song with a big F___ it!
Born Villain – As an audiophile, I am instantly drawn to expecting something big out of title tracks. This one kicks off with a great clean guitar riff and composed electronic beat while Manson croons in that signature death-blues way he so beautifully does. Another great guitar riff kicks in for the chorus “Become, Become, Become…” with just the right touch of distortion and pizzazz and then fades as quickly as it arrived. The first real keyboard breakdown can be heard after the second chorus, eerily creepy and complimentary to the underlying guitar riff. One of the best tracks on this record by far, thus living up to the title track rule of excellence.
Breaking the Same Old Ground – The song starts with an eerie music box melody playing over heavy static soon accompanied by a Pogo-esque keyboard arrangement. Manson’s vocals once again in top form over the melody allowing the song to swell into a mid-tempo death march of desperation and beauty. There are many sample/keyboard elements within the walls of this track that are riddled between the riffs and vocals. The lyrics can be semi-repetitive but the sullen mood of the track makes this song irrisistable. On a sorrowful note, this track makes me long for the keystrokes of Madonna Wayne Gacy (Pogo).
You’re So Vain – Yes, an incredible cover of the Carly Simon classic makes this a true Bonus Track. From the pounding bass, to the crunching guitars (provided by Johnny Depp), and of course the perfectly crafted vocals puts this right up there with Personal Jesus and Tainted Love. This is a perfectly crafted and heavy cover of an iconic song with less synth than live instruments, which is a great thing! The harmonizing backing vocals “You’re so vain,” behind Manson’s lead is so Mechanical Animals-esque, it’s uncanny. This being a song I grew up hearing on my parents stereo, I think this to be the perfect album closer, even if it is not a cohesive part of the album.
Overall, an exceptional record and a peak for Manson coming out of the valley that was his last couple of albums. Don’t get me wrong, while I thoroughly enjoyed tracks off of Eat Me, Drink Me and High End of Low, there were a limited amount I listen to habitually. I currently only skip two tracks on this album and I’ve only owned the record for a day and a half. Twiggy and Manson sure hit the nail on the head, this is some of the best material they’ve ever written and recorded in their lengthy careers, bravo!
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