The High End of Low

开启灵魂黑洞瞬间直达地狱的堕落快感
全球四千四百万人的追随膜拜 最离经叛道且惊世骇俗的工业鬼魅天团
单飞五年贝斯手Twiggy Ramirez归队+曾任U2、Smashing Pumpkins、Green Day、NIN客席指定键盘乐手Chris Vrenna正式加入齐力打造新碟

综合性感女神Marilyn Monroe玛丽莲梦露以及美国杀人魔王Charles Manson查尔斯曼森的Marilyn Manson(以下简称MM)，搭配强烈雌雄同体的错乱，解构美丽与恐怖的矛盾和善恶强烈对比，敲打黑暗阴晦的工业摇滚浪潮，一刀未剪的论及性爱、毒品、撒旦以及血腥暴力等备受争议的话题，最离经叛道且狂野难驯的放浪形骸，他每次现身总是直接生吞活剥你的视听双感应。

他的惊世骇俗曾遭各界挞伐，仍毫不掩饰的传递沉沦、堕落与虐待之变态讯息，吸纳恩师Nine Inch Nails九吋钉灵魂主脑Trent Reznor的精髓，从1994年的首张专辑『Portrait Of An American Family』，到2007年的『Eat Me, Drink Me』累积全球四千四百万人的追随膜拜。独树一格之惊吓艺术的特殊定位，更在好莱坞B级恐怖片中包办其配乐、主题歌曲的重责大任，举凡「Resident Evil（生化危机）」、「Saw II（电锯惊魂2）」、「The Queen Of The Damned（吸血鬼女王）」、「House Of Wax（恐怖蜡像馆）」、「Book of Shadows: Blair Witch 2（女巫布莱尔2：影子之书）」等卖座强片，皆回荡着MM鬼魅声影，同步强化撒旦代言人的恶灵形象。

单飞五年的贝斯手Twiggy Ramirez归队+曾任U2、Smashing Pumpkins、Green Day、NIN客席指定键盘乐手Chris Vrenna正式加入，这张全新大作更请到合作愉快的伙伴Sean Beavan(Guns N’ Roses、No Doubt、System Of A Down)协助制作/混音。充满杂音和清脆吉他拨弦当开场的“Devour”，异于往常的选择简单铺陈，却在中后段时，冲出狂妄撕裂音频，足以让你双耳贪婪的不愿错听任何一秒；接着“Pretty As A (S)”掉入MM式震耳欲聋的特有风格裡头，爽快够劲的敲打冰冷电子合成声韵，挟带令人窒息的深沉工业噪音来回穿绕；加压于Twiggy厚重贝斯线条，华丽暴力美学弥漫在首波主打“Arma-Goddamn-Motherfuckin-Geddon”中，不让乐迷失望的包覆工业重力碰撞及旋律兼具之剽悍佳作；毫不留情的描写无知追星少女之“Blank And White”，在Manson失速嗓音放射下，丢下喘不过气火药味十足的波道，不断推着情绪至最顶端；若还不想让耳朵有片刻休息，可继续激荡在“We’re From America”、“I Have To Look Up Just To See Hell”等鲜味浓郁且煽动性十足之佳肴中；好听到掉泪的“Running To The Edge Of The World”，将会是粉丝们爱不释手的抒情小品；长达九分钟的“I Want To Kill You Like They Do In The Movies”，如同上演着一出奇情剧集，隐藏谋杀、性爱、死亡、结束等桥段。回归早期猛暴狂妄声浪，电子与金属摇滚的高速冲击，他咄咄逼人的气流绝对令人再次大呼过瘾！

(by 博客来)

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The High End of Low is the seventh full-length studio album by American rock band Marilyn Manson. It was released on May 25, 2009 in the United Kingdom and May 26, 2009 in the United States through Interscope Records. It was the last Marilyn Manson album released by long-time record label Interscope Records.

Sean Beavan, who mixed Antichrist Superstar, Mechanical Animals, and Eat Me, Drink Me, is co-producer of the album along with Chris Vrenna. Manson describes the album as being influenced by film, especially the track "I Want To Kill You Like They Do In the Movies". This is the last album to feature long time band drummer Ginger Fish.

The album spawned two official singles ("Arma-Goddamn-Motherfuckin-Geddon" and "Running to the Edge of the World"), and one pre-release promo-single ("We're from America"), and was supported by The High End of Low Tour. The album debuted at № 4 on the Billboard 200. (wiki)

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by Phil Freeman

Remember when everybody was afraid of Marilyn Manson and Eminem? Then it turned out Detroit's white king of rap was a celebrity-obsessed one-liner machine with a pathetic array of mommy issues, and Florida's homegrown Satan went through a bad breakup and released 2007's weepy (relatively speaking) Eat Me, Drink Me. Now, on The High End of Low, Manson is trying to regain his dark throne once more, and frankly, it's unlikely to work. The track titles read like Manson-by-numbers: "Pretty as a Swastika," "Arma-goddamn-motherfuckin-geddon," "I Want to Kill You Like They Do in the Movies," "I Have to Look Up Just to See Hell," and perhaps the most unwittingly revelatory, "We're from America." This album marks the return of former bassist Twiggy Ramirez to the band, but as ever the Manson personality/persona towers over everything else, and his two or three musical ideas are repeated throughout the disc, with only a few exceptions. It doesn't help that he's never even tried to become a technically proficient vocalist; his desultory croon and hoarse shriek are the same as they've been since the early '90s. There are a few catchy riffs here, and a nice tone on "Blank and White," but lyrics like "If you touch me I'll be smeared/You'll be stained for the rest of your life" (from "Leave a Scar") and "Everyone will come to my funeral to make sure that I stay dead" (from "Four Rusted Horses") feel like he's trying to convince himself as much as the audience. The album's middle stretch is a hard slog, with the six-and-a-half minute "Running to the Edge of the World" followed by the nine-minute "I Want to Kill You..." The former is a Bowie-esque ballad/epic (acoustic guitar, strings) that could have been great if it had only been two minutes shorter, while the latter is a one-riff trudge that never builds up any momentum. The aggressive "We're from America" has bursts of lyrical wit, but when your opening line, "We're from America where we eat our young," is cribbed from Funkadelic circa 1972, you're pretty much advertising that you're out of ideas.