Marilyn Manson – Eat Me, Drink Me
Twiggy Ramirez is out. Tim Skold is in. Marilyn Manson’s “Eat me, drink me” album is filled with Alice in Wonderland references and emo allusions to divorce proceedings with Dita Von Teese – but does it deliver?
Love him or hate him, Marilyn Manson has always amazed us with his wild makeup, roaring guitar riffs and odd, opinion-heavy lyrics. I’m a huge fan of Manson because of “Ginger Fish”, and the 2007 album “Eat Me, Drink Me” heads in a slightly different direction – very stripped-down, very melody-centred. Though his last albums were controversial and religion bashing, this one is more sensitive and emotional. In Manson’s own words, the album has a “total human element”, designed to “seduce somebody.” As its title suggests, it also has all those allusions to Alice in Wonderland…
“Eat Me, Drink Me” starts out with the spooky yet delicate “If I Was Your Vampire”. Though it sounds like a great Halloween theme it’s imbued with a sense of romance – unsurprising, since this album was produced when he was infatuated with Evan Rachel Wood. “If I Was Your Vampire” absolutely does not sound like the super-noodly “If I was Your Girlfriend” by The Artist Currently Known As Prince.
“If I Was Your Vampire” is followed by “Putting Holes in Happiness”, which seems more like a “Dita-please-come-back” song, but is nevertheless entrancing. It also benefits from a stand-out solo by Tim Skold. If you are lucky enough to get a hold of the Hot Topic bonus tracks, there was a beautiful remix by Ginger Fish (the coughsexycough drummer).
We leave that and dive into the next track, “The Red Carpet Grave”. It’s pretty interesting and fun to listen to on occasion, but it’s one of those songs you can get tired of easily.
Fourth is “They Said That Hell’s Not Hot”, which is a very heartbreaking song that again seems to be about his divorce with Dita Von Teese. This song also delivers an awesome guitar riff by our dearest Mr. Skold. They’ve been sure to give him space to showcase his talents on this album – which is great, because you’d expect a different band line-up to produce a different sound, otherwise it would just be a case of Marilyn Manson and his merry minstrels.
Rarely are there songs that can make me cry, but when they do, I often give them the most credit. “Just a Car Crash Away” is as depressing as it is beautiful, and really makes you feel like you were there, signing those divorce papers. One of the most soulful songs on the album.
Next up is “Heart-Shaped Glasses (When the Heart Guides the Hand)”. This slightly more cheerful track delivers a nice break after crying on the last song. The video is more pr0no than music video – if, unlike me, you enjoy the prospect of Manson’s naked bottom on your screen, you’ll stand a chance of enjoying the video too.
“Evidence” is an accessible but more erotic song. Slow and enticing, it delivers a nice little kick. I think I’d honestly rather see Manson’s bottom here… No, wait, never mind…
“Are You the Rabbit” may be one of the album’s most bizarre songs but it’s also one of the catchiest, the ones most likely to stick in your head weeks later. It is, of course, an allusion to the little white rabbit from Alice in Wonderland that always seemed to be running late.
“Mutilation is the Most Sincere form of Flattery” may sound like he got Fall Out Boy to help him lengthen the name, but it’s actually more of an insult to bands like My Chemical Romance, whom Manson seems to loathe with a fiery, burning passion. It’s a throwback to Manson using lyrics as a soapbox to weave confrontational opinion into his work. This song ain’t kid-friendly but it’s a lively and non-depressing addition to the album.
“You and Me and the Devil Makes Three” is the last lengthily titled song on this one, and all I can really say about this song is I’m glad you can add, Marilyn! I’m disappointed with this song; it just doesn’t have much of a flow and seems a little bland.
Last, and perhaps the best, is “Eat Me, Drink Me”. This is an obvious nod to Alice, but with a more suicidal overtone. Wonderful song, though.
Hardcore Manson fans may be a touch disappointed with this album. This album only has flashes of strongly-stated controversial opinion in the lyrics and the delivery of the songs seems too emo to be classic Manson, but it should still give the reader an overall sense of Manson-y satisfaction and feeling of anticipation for the next Manson album.
I’m curious to see if the return of Twiggy Ramirez adds anything to “The High End of Low” – Marilyn Manson’s next album, due to be released in 2009. Curiouser and curiouser.
