5Sterne
2Bewertungen4Sterne
0Bewertung3Sterne
0Bewertung2Sterne
0Bewertung1Stern
0Bewertung
2 Rezensionen
Der Antichrist ist geboren
Nach "Portait of an American Family" (1994) und Smells like Children" (1995) ist "Antichrist Superstar" 1996 das dritte Album von Marilyn Manson. Es wurde mit Trent Reznor, Frontmann der Nine Inch Nails, produziert.
Wie auf keinem Album vorher schafft es Marilyn Manson, durch gezielte Provokation Aufsehen zu erregen (der Albumtitel sollte u.a. an das Musical "Jesus Christ Superstar" erinnern) und stieg dadurch erwartungsgemäß hoch auf Platz 3 der Charts ein.
Mit "Antichrist Superstar" begann eine Trilogie, die mit "Mechanical Animals" fortgesetzt wurde und mit "Holy Wood (In the Shadow of the Valley of the Death)" endete. Es ist meine Meinung nach das komplexeste und stärkste Album in der Bandgeschichte. "Irresponsable Hate Anthem" war nicht umsonst über viele Jahre hinweg Opener aller Konzerte der Band. Meine Favourites sind desweiteren "Beautiful People" und "Angel with the scabbed Wings".
Obendrein kommt der Silberling in einem Pappschuber und besitzt ein recht interessant und ungewöhnlich aufgemachtes Booklet (müsst ihr selber sehen, kann man schlecht beschreiben).
Der Erfolg ist gewiss von folgenden Alben übertroffen worden, Komplexität und Aussage sind allerding bis heute unerreicht. Wer also Marilyn Manson will, kommt an diesem Album nicht vorbei.Vollständige Rezension lesen...
Antichrist Svperstar is a provoting and dark masterpiece !
Making the transition from dingy cartoon shock-rock to industrial metal/goth rock icon, 1996 saw Marilyn Manson reveal his concept album: Antichrist Superstar (A title which Manson often bestowed upon himself).
The album opens with a moment of distorted voice before kicking into the no-holds-barred aggression of Irresponsible Hate Anthem, with it's pummeling tempo and solid rythm section work, Manson's vocals sound every bit as caustic as his first lines cover patriotism, abortion, and sucicide: this is Manson in his prime.
The first single, unnoficial Goth anthem The Beautiful People, is a marching-pace goth stomp. a simple 3-chord riff, buzzing (but never overly distorted) guitars, and a base level social commentary are all present here, some of the trademark Manson touches. The caustic Dried up, Tied up, and Dead To The World is a throbbing bass verse indespersed with a groaning chorus that sounds like a hangover.
Tourniquet is a melodic track, relying more heavily upon the guitars for melody than before, and Manson works in his trademark creepy-whisper/growl in parts. a thick line of distorted guitars matched only with ranting introduce Little Horn, a heavier track on the album, without the "lighter" verses of the opening track, though it is obvious that the band are using a formula here. Cryptorchild clocks in at just 2:44, and is more like an interlude than a song, the song changing almost completely in the middle, like a revelation (and considering Manson's lose "concept" here, it's highly likely thats what it is).
Deformography is a grinding industrial track, Wormboy is a twisted funk-metal number, Mister Superstar is a gritty comment on fan worship, and Angel With The Scabbed Wings sounds like a third Little Horn or Irresponsible Hate.
Kinderfeld changes the pace of the album slightly, reverting to the creepy vocals of the Smells Like Children EP, and relies much more on synths and bass than the albums heavier songs. The title track is a 5-minute rock opera, featuring bizzare guitar effects, matched only by the vocal tricks. it features lyrical throwbacks to Cryptorchild, and Mansons drones, screeches, whines, and grunts his way through the songs various melodies.
1996 is yet another moment of pure shock-rock fun, while Minute Of Decay seems like a confused mish-mash of the various styles on the album and The Reflecting God sounds like the anthem for a dead planet, full of nihilism and heresy, with a chorus that is half-rant half-song.
The albums final track is the slow and *extremely* dark-sounding The Man That You Fear. A vague depiction of urban angst, the voice of the song contemplating suicide, self-harm, and telling everyone he knows that they're already dead, all through the medium of mansons dry and scathing croak.
Antichrist Superstar, though not as intense as Holy Wood, is still a landmark Manson release, full of as many ***-you devil-horns piss-off-your-parents moments as it is of poignant and dingy claustrophobia, and sombre social commentary.
a quality release, vital to any Manson collection, but by no means the best alternative for something in the genre.Vollständige Rezension lesen...