Marilyn Manson
Born Villain

An important premise: I am among those who did not disdain, but rather greatly appreciated the artistic shift of Marilyn Manson, which was particularly evident with "Eat Me Drink Me," probably his most melodic album. Not that Manson has ever been particularly harsh and unlistenable—just listen to the good "Mechanical Animals" to testify to this—but it's clear that in recent years, something has changed, with mixed results. The last album "The High End Of Low," halfway between a good rock album and something bland and flavorless, seemed to signal the 'end' of Manson's artistic path, but instead, against all odds (including the producers at Interscope Records who decided to consensually!? terminate the contract), he returns with "Born Villain." I want to be clear from the start by stating that for the nostalgics of "Antichrist Superstar," there isn't much hope; this is a 'classic Manson' album, the new reverend who, as old fans say, would be one sold to a new audience; as someone else claims, he's 'mature.' Honestly, I prefer not to take sides or maybe remain in the middle because more than maturity, it involves a mix of years passing between depressive crises and antics, and musical paths are undertaken dictated partly by personal choices but also by market rules, with an ear turned toward those who loudly ask for a return to the origins. Tracks like "Hey, Cruel World," perhaps among the best episodes of the album, and the first single "No Reflection" are effective synth rock/metal pieces with plenty of catchy and effective tunes, but it's useless to deny that the ex-reverend, by overusing samples, contaminates otherwise appreciable ideas. Tracks like "Pistol Whipped" and "Slo-mo-tion" are evidence of this; Manson doesn't disappoint, but he overdoes it, as a perhaps less oppressive and omnipresent mixing and a more natural effect without distortions and so forth might have been more rewarding. He highlights his glam side in tracks like "The Gardener" and the good "Lay Down Your Goddamn Arms," which retrieves a little something from the aforementioned "Mechanical Animals." The band returns to hit hard (and it was needed) in the energetic "Murderers Are Getting Prettier Every Day" which will make nostalgics smile, before preceding the title track "Born Villain," which is not bad but a bit bland to be chosen as the track that gives the album its name. There are, of course, references to New Wave, as in the good "Breaking The Same Old Ground," although the final result is always and still altered by a voice that has lost its characteristics, becoming at times heavy and stretched too far. Finally, a good end to the album is provided by "You're So Vain." At first glance, the result of this "Born Villain" is at least positive; there are interesting and encouraging cues. A step forward compared to the last album, and for it to be the eighth under the Manson moniker, few would have bet on an at least sufficient result. Personally, I would place the album between 3/5 or 4/5, rewarding its courage and the decent energy displayed, but I'll opt for the 3/5 because in the end, polished as it should be and with the lacquered tuft, it is now a classic album, glam, synth, and why not, emo, of the good old or 'new' Marilyn Manson.