Marilyn Manson
Antichrist Superstar

THE REVIEW

That Marilyn Manson is synonymous with media stupidity is something we all know. A fake metal demon who enjoys playing the Satanist and who for many years has negatively influenced youth society, especially the American one.

In this case, however, the aphorism "not all evils are to cause harm" fits perfectly. I say this because if we look beyond the impious depiction he tries to impersonate, we find an MM that musically opens new perspectives. This discussion, however, can only be made when talking about the early works. Surely the latest album is nothing more than a poorly executed commercial ploy that has had the honor of alienating even the most ardent fans.

"Antichrist Superstar" is one of those works that can be considered "good," along with the debut album "Portrait Of An American Family" and maybe even Holy Wood, an album that, by the Reverend's own admission, closed the circle of his musical evolution.

Born thanks to Trent Reznor of Nine Inch Nails, they chose their name in homage to Hollywood's most beloved star and America's greatest serial killer. The album was released in 1996, sold one million and four hundred thousand copies, and was acclaimed by critics because those were the years when MM was cool, when he started tearing up bibles, professing self-harm, claiming to be the Antichrist. Those were the times when "We hate love, we love hate" increasingly became the motto of teenagers intent on making violence, so much professed by our villain, the torment of their psyche.

But "AntiChrist Superstar" is not an important album for Manson just for these retrospectives. The fact is that musically the result achieved is quite interesting. The album blends different styles with a decadent glamour. His glam-rock-metal is sprinkled with electronic textures and samples. The screaming voice of Brian Warner (his real name) suits well the visceral atmospheres of the album. The sound recalls the first album: innate and abrasive. The instrumental scores push into sadistic and perverse settings. Also because at that time the group's look was inspired by the Nazi style, with the famous "shock" as the band's symbol.

The album tends to intersect different musical paths ranging from a heavier genre (the Beautiful People), to the grotesque (Tourniquet), and the famous anthems of violence (Irresponsible Hate Anthem), moving through epileptic and crass aspects (1996 and Little Horn), ending with aspects of Decadentism and more horror-melancholic melody (Minute of deacy).

With this work, Marilyn Manson probably abandon the Nine Inch Nails ghost, allowing a glimpse of the musical and ideological evolution that will eventually decree the end of this character, who emerged as a mirror of the evils of American society and the entire world.