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In 2000, Marilyn Manson not only was recovering from his fans' rejection of Mechanical Animals, he was scarred from Columbine and, worst of all, he was no longer America's demon dog. What was Brian Warner to do, standing on such uneasy ground? As a smart man and savvy marketer, he knew that it was time to consolidate his strengths, blend Omega with Antichrist Superstar, and return with a harsh, controversial, operatic epic: A vulgar concept album to seduce his core audiences of alienated teens and cultural cops. The resulting album, Holy Wood (In the Shadow of the Valley of Death), is intended as the third part of the trilogy beginning with Antichrist Superstar, and it's convoluted story line is fairly autobiographical, but the amazing thing isn't the story - it's that he figured out to meld the hooks and subtle sonic shading of Mechanical Animals with the ugly, neo-industrial metallicisms of Antichrist. Consequently, it's easy to see this as the definitive Marilyn Manson album, since it's tuneful and abrasive. Then again, much of it's charm lies in Manson trying so hard, perfecting details in the concept, lyrics, themes, production, sequencing, the tarot card parodies in the liner notes, the self-theft, the self-consciously blasphemous cover art. There's so much effort, Holy Wood winds up a stronger and more consistent album than any of his other work. If there's any problem, it's that Manson's shock rock seems a little quaint in 2000. Eminem's vibrant, surrealistic white-trash fantasias were the sound of 2000, while Marilyn Manson's rock operas, religious baiting, and goth gear are from an era passed. It's to Warner's credit as, yes, an artist that Holy Wood works anyway.
In 2000, Marilyn Manson not only was recovering from his fans' rejection of Mechanical Animals, he was scarred from Columbine and, worst of all, he was no longer America's demon dog. What was Brian Warner to do, standing on such uneasy ground? As a smart man and savvy marketer, he knew that it was time to consolidate his strengths, blend Omega with Antichrist Superstar, and return with a harsh, controversial, operatic epic: A vulgar concept album to seduce his core audiences of alienated teens and cultural cops. The resulting album, Holy Wood (In the Shadow of the Valley of Death), is intended as the third part of the trilogy beginning with Antichrist Superstar, and it's convoluted story line is fairly autobiographical, but the amazing thing isn't the story - it's that he figured out to meld the hooks and subtle sonic shading of Mechanical Animals with the ugly, neo-industrial metallicisms of Antichrist. Consequently, it's easy to see this as the definitive Marilyn Manson album, since it's tuneful and abrasive. Then again, much of it's charm lies in Manson trying so hard, perfecting details in the concept, lyrics, themes, production, sequencing, the tarot card parodies in the liner notes, the self-theft, the self-consciously blasphemous cover art. There's so much effort, Holy Wood winds up a stronger and more consistent album than any of his other work. If there's any problem, it's that Manson's shock rock seems a little quaint in 2000. Eminem's vibrant, surrealistic white-trash fantasias were the sound of 2000, while Marilyn Manson's rock operas, religious baiting, and goth gear are from an era passed. It's to Warner's credit as, yes, an artist that Holy Wood works anyway.
606949079024

Details

Format: CD
Label: NTHG
Catalog: 490790
Rel. Date: 11/14/2000
UPC: 606949079024

Holy Wood in the Shadow of the Valley of Death
Artist: Marilyn Manson
Format: CD
New: OUT OF STOCK. Email info@monstermusicsc.com or call 843-571-4657 for availability information! Used: IN STOCK!
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In 2000, Marilyn Manson not only was recovering from his fans' rejection of Mechanical Animals, he was scarred from Columbine and, worst of all, he was no longer America's demon dog. What was Brian Warner to do, standing on such uneasy ground? As a smart man and savvy marketer, he knew that it was time to consolidate his strengths, blend Omega with Antichrist Superstar, and return with a harsh, controversial, operatic epic: A vulgar concept album to seduce his core audiences of alienated teens and cultural cops. The resulting album, Holy Wood (In the Shadow of the Valley of Death), is intended as the third part of the trilogy beginning with Antichrist Superstar, and it's convoluted story line is fairly autobiographical, but the amazing thing isn't the story - it's that he figured out to meld the hooks and subtle sonic shading of Mechanical Animals with the ugly, neo-industrial metallicisms of Antichrist. Consequently, it's easy to see this as the definitive Marilyn Manson album, since it's tuneful and abrasive. Then again, much of it's charm lies in Manson trying so hard, perfecting details in the concept, lyrics, themes, production, sequencing, the tarot card parodies in the liner notes, the self-theft, the self-consciously blasphemous cover art. There's so much effort, Holy Wood winds up a stronger and more consistent album than any of his other work. If there's any problem, it's that Manson's shock rock seems a little quaint in 2000. Eminem's vibrant, surrealistic white-trash fantasias were the sound of 2000, while Marilyn Manson's rock operas, religious baiting, and goth gear are from an era passed. It's to Warner's credit as, yes, an artist that Holy Wood works anyway.

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''Holy Wood (In the Shadow of the Valley of Death)'' is the fourth full-length album by rock band Marilyn Manson. It was released on November 14, 2000 in the US and Australia by Interscope Records. It is a concept album, and the third and final album of a trilogy along with ''Antichrist Superstar'' and ''Mechanical Animals''. It also marks a return to the industrial metal style of the band's earlier albums, after the glam phase of Mechanical Animals. It spawned three singles ("Disposable Teens", "The Fight Song" and "The Nobodies") and a novel which remains currently unreleased. According to MTV Spain, the album has sold over 9 million copies worldwide.

The album's packaging, which portrayed Manson in a crucified pose with a missing jaw, generated minor controversy upon release and had to be offered with a cardboard sleeve featuring an alternate cover due to some retailers refusing to stock the album with the original artwork. Manson described the move as "censorship" and stated that "those who seek to censor my album cover have successfully proven [the] point [of the image]." - Wikipedia

        
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