Wednesday, October 7, 1998
Soundbites
Marilyn Manson, "Mechanical Animals" (Nothing Records)
Two lines from Marilyn Manson’s newest hit "Dope Show" basically
sum up the Manson plight: "They love you when you’re on all the
covers/ When you’re not then they love another." No need to worry
for the time being. The spectacle and the truly creative sound of
Marilyn Manson (both the man and the group) will continue to keep
audiences guessing and entertained for the time being.
Though his ever-changing appearances and eccentrically freakish
demeanor grab the headlines and recur in our nightmares, Manson
holds a musical talent not to be taken for granted because of his
devilish antics.
A little bit of Nine Inch Nails, Radiohead and the powers of
evil, Marilyn Manson’s newest album "Mechanical Animals" shows the
world a different side of Manson. Under the "death rock," the
frightening images and the confusion lies a true musician capable
of crossing over into the mainstream world of rock.
The newest album keeps the old Manson tradition of dark charm
but adds a dimension of gripping melodies, intense guitar and
synthetic hooks.
The new album contains a little of everything, from intoxicating
drums in "Rock is Dead" (which lend the same charm as they last did
with the song "Beautiful People") to the slower, methodical
melodies of "Disassociative" and "Speed of Pain." Both songs show
striking similarities to techniques used by NIN and Radiohead.
A few of the best songs of the album, "I Don’t Like the Drugs
(But the Drugs Like Me)" and "Mechanical Animals" not only contain
the essential hard rock elements but also hold anticipated choruses
and melodies that stick in your head.
The vocals involve more than just loud yelling and chanting, but
they are not perfect. Humorous experiments include the soft,
lounge-style melodies of songs such as "Fundamentally Loathsome"
that make you gasp when you realize what the vocals are telling
you. ("Shoot myself to love you/ If I loved myself I’d be shooting
you.")
The softer, poppier Manson may have had a makeover, but this
glove fits to create one of the year’s best records to date.
Michelle Zubiate
Henry Rollins, "Think Tank" (DreamWorks)
Henry Rollins, late of Black Flag and the Rollins Band, has got
to be one of the most unusual entertainers in the music industry.
He’s spent nearly twenty years hopping around stages, screaming at
the top of his lungs, flexing his muscles, flashing his gruesome
looking tattoos, and making some thoroughly angry music. Lately,
he’s been branching out, trying his hand at acting, and now, with
"Think Tank," comedy as well. Surprisingly enough, he’s actually
pretty good. In the double disc, recorded live in Chicago and
Australia, Rollins switches between intentionally funny stand-up
material and insightful experiences as a touring musician.
The Chicago disc is the funnier of the two, with Rollins
unloading on everything from airport waiting delays to weathermen
to characters on "Friends." Obscene, yes, but wickedly funny and
cuts right to the point.
While he lacks the bite of Chris Rock or the everyday
accessibility of Jerry Seinfeld, Rollins does possess a simple
honesty, combined with commanding oration that makes his material
hard to ignore. The Australian disc has a much more laid-back feel,
with Rollins trading his bitter tirades for stories of the road. It
can actually be touching at times, to hear this maniacal ranter
talk about his experiences with a terminally ill leukemia patient.
He may not match the high-octane fury of his music on "Think Tank,"
but he is entertaining nonetheless.
Brent Hopkins
Outkast, "Aquemini" (LaFace)
Since their debut in 1994, Andre and Big Boi, commonly known as
Outkast, have managed to consistently make good music, gaining a
stronger fan base with every album. Their third album, "Aquemini,"
continues the pattern. Representing the fusion of the duo’s
personalities through their Zodiac symbols, "Aquemini" is one of
those albums that must be listened to from start to finish.
From the first song, "Return of the G," it is apparent that the
group continues to grow both artistically and emotionally. There is
an abundance of quality material to experience on "Aquemini," like
the rhythmic "Rosa Parks," which utilizes a harmonica at the end of
the song, or "Skew It on the Bar-B" (featuring Raekwon of the
Wu-Tang Clan). Two of the best tracks on the album don’t even
feature lyrics, like "Liberation," with Cee-Lo of Goodie Mob, and
"SpottieOttieDopaliscious," which finds Andre and Big Boi talking
over a relaxing beat describing an evening at a club.
Probably the best track on the album is the title track,
"Aquemini". Both Andre and Big Boi flow over a beat that sounds as
though it was meant for them and long after the song appears to be
over, the beat comes back in out of nowhere. The final song,
"Chonkyfire," inspires the listener to experience the album again
and leaves them anticipating the next effort from the Atlanta
duo.
Even more experimental (and emotional) than their last album,
"ATLiens", Outakst deserves praise for not being afraid to go out
on a limb and achieving success. "Aquemini" should at the very
least be given a chance by anyone who considers themselves a
connoisseur of good music. Easily one of the best albums of
1998.
Tenoch Flores
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