Let me start this off by stating that I'm not one of those easily offended conservative types, or some sort of preachy religious figure that dislikes Manson because of his supposedly anti-Christian and anti-society lyrics and themes. I'm much more likely to be offended by lame gimmick-rock than I am by pentagrams and bizarre stage shows, and if the music is good and morally offensive, then hey, I'm all for that.

Manson is something of a unique character in music. His music and persona are unashamedly based around a gimmick; time after time, usually when he has a new album on the way, he'll do something outrageous that will prompt conservative religious groups to condemn him, which will then result in increased sales as the kids of conservative religious parents go out and see what all the fuss is about. Usually this would be a warning sign of shallow, boring music that is about fifteen years behind the curve, but in Manson's case, there is also some talent lurking there. When he stops pretending to be an angel of Satan, and actually gets around to making some music, that music is sometimes very good indeed. At other times, his public persona and gimmickry get in the way and what comes out is dull and uninteresting. For the most part, unfortunately, "The Golden Age of Grotesque" falls into this second category, although there are moments where Manson displays the sort of talent that could make him so much more than a glorified circus freak if he used it properly.

After a brief introduction that's not really worth mentioning, the album starts out with one of the most misnamed songs of the year, This Is The New Shit. It's misnamed, because it actually sounds like a regression to Manson's first couple of albums rather than anything even remotely "new". All of the Manson trademarks are here, dryly-ironic lyrics, a truckload of profanity, and the requisite mentions of sex, drugs, and violence. Still, it's a refreshing reminder of exactly what made Manson so appealing back in the day, before cynicism about his motives kicked in.

The rest of the album really follows suit, despite the abundance of bad language and blasphemy, Manson largely, and disappointingly, plays it rather safe for the entire sixty minutes of the record. The record is also quite disjointed, with the effect of it sounding more like a B-sides compilation than a cohesive new album. Still, at occasional points throughout the record, there are sporadic moments of brilliance, but they're unfortunately obscured by Manson's pseudo-gothic posturing. The requisite cover, this time Tainted Love follows the formula that Manson has previously employed, turning it into a slow, sleazy, drawl through the song. It's amusing the first time you listen to it, but it's not interesting enough to be worth many repeat plays.

Manson does appear to have boxed himself into a corner with recent albums. While his gimmick may have brought him to the attention of thousands of angsty teenagers, the sooner he ditches it, the sooner his music is going to improve, and he'll be able to write a lasting legacy for himself as something other than a man who outraged a whole lot of parents.

Let me start this off by stating that I'm not one of those easily offended conservative types, or some sort of preachy religious figure that dislikes Manson because of his supposedly anti-Christian and anti-society lyrics and themes. I'm much more likely to be offended by lame gimmick-rock than I am by pentagrams and bizarre stage shows, and if the music is good and morally offensive, then hey, I'm all for that.

Manson is something of a unique character in music. His music and persona are unashamedly based around a gimmick; time after time, usually when he has a new album on the way, he'll do something outrageous that will prompt conservative religious groups to condemn him, which will then result in increased sales as the kids of conservative religious parents go out and see what all the fuss is about. Usually this would be a warning sign of shallow, boring music that is about fifteen years behind the curve, but in Manson's case, there is also some talent lurking there. When he stops pretending to be an angel of Satan, and actually gets around to making some music, that music is sometimes very good indeed. At other times, his public persona and gimmickry get in the way and what comes out is dull and uninteresting. For the most part, unfortunately, "The Golden Age of Grotesque" falls into this second category, although there are moments where Manson displays the sort of talent that could make him so much more than a glorified circus freak if he used it properly.

After a brief introduction that's not really worth mentioning, the album starts out with one of the most misnamed songs of the year, This Is The New Shit. It's misnamed, because it actually sounds like a regression to Manson's first couple of albums rather than anything even remotely "new". All of the Manson trademarks are here, dryly-ironic lyrics, a truckload of profanity, and the requisite mentions of sex, drugs, and violence. Still, it's a refreshing reminder of exactly what made Manson so appealing back in the day, before cynicism about his motives kicked in.

The rest of the album really follows suit, despite the abundance of bad language and blasphemy, Manson largely, and disappointingly, plays it rather safe for the entire sixty minutes of the record. The record is also quite disjointed, with the effect of it sounding more like a B-sides compilation than a cohesive new album. Still, at occasional points throughout the record, there are sporadic moments of brilliance, but they're unfortunately obscured by Manson's pseudo-gothic posturing. The requisite cover, this time Tainted Love follows the formula that Manson has previously employed, turning it into a slow, sleazy, drawl through the song. It's amusing the first time you listen to it, but it's not interesting enough to be worth many repeat plays.

Manson does appear to have boxed himself into a corner with recent albums. While his gimmick may have brought him to the attention of thousands of angsty teenagers, the sooner he ditches it, the sooner his music is going to improve, and he'll be able to write a lasting legacy for himself as something other than a man who outraged a whole lot of parents.