The High End of Low

Studio Album by released in 2009

The High End of Low review

Marilyn Manson returns in all his disgusting beauty

There is hardly a person among those who follow Marilyn Manson’s career that was still hoping the artist would surprise us ever again with his inimitable image which has already become a brand in itself. Teenagers and grown-ups all over the world imitate him and the aggressive, frank and often disclosing lyrics get quoted not only by the fan clubs members but also among everyone fond of good heavy music. Yet the artist's positions have started to loosen as of late. His sixth album, 2007’s Eat Me, Drink Me has become the softest one in his entire career demonstrating the most vivid pop tendencies. Taking into account the low success of the 2006 compilation Lest We Forget The Best Of many have got upset with Manson’s sixth studio work and even the vague gossip that the collection was a farewell symbol seemed more truthful in that context. Still this spring events have shown that we have been facing nothing but silence before thunder – Marilyn Manson in all his disgusting beauty finally returns with the new creation The High End Of Low which will surely become a turning moment in the career of this outstanding performer of the unmerciful industrial rock.

Negativism, sadism and evil prophesies on The High End Of Low

Believing he has performed enough love songs even with a non-traditional understanding of the word Marilyn Manson has not hesitated to return to what he started from and thanks to what he got famous – negativism in everything, sadism and evil prophesies. The album opens with the composition exactly of such kind, Devour, conquering at once with a splendid tune, a beautiful accompaniment which closer to the end turns into a complete instrumental chaos. Reminding us that symbols play an important role in gothic art is the track Pretty As A ($) about the sign of swastika filled with volume guitar hooks. A contagious song Leave A Scar is remarkable for some of the most pessimistic lyrics on the record whereas Four Rusted Horses also pleases with a memorable tune. One of the album’s most significant tracks is Arma-Goddamn-Motherfuckin-Geddon: first, its chorus is sure to linger in your mind for a long time, second, Manson’s thoughts concerning the world situation can be distinctly traced in it even though he does not make any accent on that. Besides, the album pleases with a number of smoother compositions such as Running To The Edge Of The World, a beautiful ballad worthy of a good alternative band, and the piano song Into The Fire. Of course Marilyn’s creaky vocals is more suitable for heavier songs but they by no means worsen the impression of the deeply thought and soulful low-tempo tracks. Another highlight is the number I Want To Kill You Like They Do In The Movies demonstrating how good is Manson at displaying his dark side, whereas another slow number Wight Spider can boast the most penetrating and vivid chorus. It is also worth while paying attention to the most topical composition We're From America on which the performer’s political views are entwined with his personal feelings.

The famous image is finally returning on investment

If we compare The High End Of Low to the previous record some might think that the two are made by different performers as the contrast between them is so astonishing. Marilyn himself realizes that his new album proves to be much more successful and is sure to do his best to make the muse remain with him on the next work. As for his seventh creation it will definitely find itself among the best not only in the singer’s discography but also among the year’s best rock albums. The recording of the album was going on throughout 2008 in Los-Angeles featuring the musicians who play constantly with Marilyn Manson. The producers of The High End Of Low are Sean Beavan who has worked on the records Antichrist Superstar, Mechanical Animals and Eat Me, Drink Me, as well as Twiggy Ramirez with whom the singer worked on even earlier albums and also Ginger Fish and Chris Vrenna. As before number 15 does not leave Manson in peace: first, it is the numeric expression of his birthday, 5 January, therefore there are 15 tracks on the album, and the closer is titled 15. Yet with all his personal peculiarities Marilyn Manson has proved he is still able to surprise, and his famous image is finally returning on investment.