Manson Returns with a vengance

Holy Wood (in the shadow of the valley of death), Marilyn Manson;

Nothing Records

By Sonya Sutherland

For the Daily

The Republicans don't like him: "We don't not plan a coalition of Cross Dressing Glam Rockers for Bush anytime soon." And neither do the Democrats: "[they are] the sickest group ever promoted by a mainstream record company."

Hell, after blaming him for the Columbine shootings, it's pretty clear that most Americans aren't fans either. And Marilyn Manson's new record, Holy Wood (In the Shadow of the Valley of Death) isn't going to win anyone over. The self proclaimed Antichrist, turned Androgynist has returned harder than ever with a record that promises to offend just about everyone else that hasn't been already.

A hybrid of the glitzed-up glam rock of Mechanical Animals and the distorted screeching of Antichrist Superstar, Holy Wood touches on the heart of what drives Manson's vision of America: Exploitation. Citing the phallic representation of a half naked crucified Jesus as the world's best selling mass-produced item and the televised assassination of John F. Kennedy, Holy Wood, backed by an amazing musical arrangement, explores some ignored issues of American culture. From "Disposable Teens," a crunchy cousin of "The Beautiful People" to the surprising yet sincere tenderness of "Lamb Of God," the album is powerful and thought-provoking.

The cover art for "Disposable Teens," the album's first single, portrays an aborted fetus on a cross and has already caused quite a stir.

Destined to be labeled another reason for teen suicide or slaughter, Holy Wood responds to America's hate with one significant question: Is adult entertainment killing our children or is killing our children entertaining adults?

Grade: A-