Issue #3: Marilyn Manson – Antichrist Superstar

Release Date:  October 8th, 1996

Recorded:  February – August 1996

Genre:  Industrial Metal / Rock

Record Label:  Nothing / Interscope

Duration:  77:26

Producer:  Trent Reznor

Personnel

Track Listing

Singles

Why Antichrist Superstar is one of my Favorites

Marilyn Manson is a band, a man, and a concept.  And no matter what you may think of them/him/it, the music to spring forth is some of the most twisted, charged, and controversial artistic material that’s made its way into the mainstream.  Yes, there are sicker, more disturbing, and darker pieces of music that deal with any number of subjects, but most of these have never seen the light of day.  The mere fact that Antichrist Superstar gained so much recognition is a testament to Mr. Manson’s ability to not only shock and awe, but also to provoke in a very deliberate, calculated manner.  Shock rocker?  Phony?  Sicko?  We could have plenty of debates about the man and how he’s chosen to present himself (although his demeanor has been tamed down drastically in the last 10 years or so, and his appearance on “The Talking Dead” was absolutely embarrassing), but regardless of any of that, he and his bandmates engaged in a period of creative splendor that produced some fine music.

I really enjoy Manson’s music up through Holy Wood, and I undoubtedly regard Antichrist Superstar (ACS) as their finest work.  Mechanical Animals was probably the peak of the band’s career, though it was ACS that propelled them to the forefront of popular culture and set the stage for its follow-up.  ACS is a very manufactured piece of art, meticulously constructed and driven by the progenitor of the accessible industrial metal sound, Trent Reznor himself.  Reznor helmed the recording process and his influence is indelible.  Noise is an integral part of the album’s success; feedback, distortion, synthesizers, and all sorts of technical wizardry augment the filthy, detached sound generated from the core guitar/bass/drums set-up.

The simple aspect that distinguishes ACS the most (in today’s world at least) is how it sounds.  Lyrical relevance may have faded, the intrigue behind the man has waned, but the music is still awesome.  If I had to keep it short and sweet, I’d describe it as a more vain, self-aware, and extroverted version of The Downward Spiral.  There’s a familiar layering of sound and noise, with dense soundscapes, hammering rhythm and percussion, and the buzzing of guitars.  However, whereas TDS is an album that speaks to oneself or perhaps another person, Antichrist Superstar carries a message for the world.  To an extent, this is reflected in more conventional song structures and standard musical timing.  The record also makes it a point to utilize more catchy and readily identifiable guitar riffs and melodies, which, I think, open it up a bit more in terms of popular accessibility.

Still, ACS is a harsh and abrasive listen.  Down-tuned guitars dominate the landscape with crushing results, such as those found in “Dried Up…,” “The Beautiful People,” “Angel with the Scabbed Wings,” and “The Reflecting God.”  Manson follows the sort of “soft verse, loud chorus” style perfected by The Pixies, with rumbling bass lines (“Minute of Decay,” “The Reflecting God”) that evoke a decidedly subterranean feel.  Wherever this album is happening, it’s dark, filthy, fetid, and forgotten.  Fish’s drums consistently pound away and envelop the music in a certain level of bombast and grandeur, perfectly accenting the vague notion that the recording itself is a performance (“Irresponsible Hate Anthem,” “1996,” “Antichrist Superstar”).

As a four or five piece outfit, I think the incarnation of Marilyn Manson that recorded Antichrist Superstar could’ve produced a successful piece of work, but what really pushes it to the next level are the processed and electronic elements.  Even static itself (or perhaps ultra-distorted instrumentation of some kind) is used masterfully, further pushing the album into a sort of “controlled degradation.”  Imperfections keep the record feeling fragile, volatile, and even chaotic.  One can almost feel the album writhing and twisting like some sort of bizarre creature struggling to survive.

The heavier pieces of Antichrist Superstar are caustic and aggressive, but it’s the softer ones that showcase the darkest and most otherworldly aspect of the album.  “Cryptorchid,” often considered “filler” by the uninitiated, is a haunting track with broken instrumentation combined with a solemn, almost reverent melody courtesy of Reznor’s Mellotron.  Manson’s vocals are particularly eerie during the latter part of the song and sound more creature than human.  “Man That You Fear” is another softer song, though its lethargic pace ultimately leads to a malevolent conclusion full of abject hopelessness.  “Minute of Decay” is another slower standout; “decay” perfectly describes the mood set herein.  If words like “rotten” and “abandoned” had a sound, this would be it.

Manson himself either screams or whispers most of his way through the album, and his corrosive vocal delivery perfectly compliments the harsh instrumentation.  His half-whispers verge on both the sultry and the unnerving as the slither through the mix, at times transitioning into a hissing sound.  The nasal-esque groan that Manson has perfected becomes a bit of a trademark of his on the album, imbuing most tracks with a mournful, hostile, and pained sound that acts as an instrument of its own.  Manson has been accused of sounding “evil” throughout the recording, and I guess I would agree, though I don’t know if “evil” is the right world.  He seems to be near croaking at times!  Personally, I find the exasperated sound to match the flavor the music perfectly.  No matter which track or what vocal styling is in question, Manson’s voice continues to sound drained and strained, appropriate for an album that sounds “damaged” and “used.”

Lyrically, Antichrist Superstar tells the story of a being who journeys from a “worm” to become the Antichrist Superstar.  Songs like “Little Horn” and “Wormboy” best chronicle the events, but all of the tracks stand on their own as well.  Like all concept albums, it can be difficult to follow the story.  The individual songs are packed with interesting lyrical content as it is, and I’ve found that a complete understanding of the “concept” at play isn’t necessary.

Most songs hinge around a total rejection of society in one way or another (“Irresponsible Hate Anthem,” “The Beautiful People,” “Antichrist Superstar,” “1996,” “The Reflecting God,” “Man That You Fear”), though others touch on topics like fame (“Deformography,” “Mister Superstar”), drugs (“Dried Up…,” “Angle with the Scabbed Wings”), and still stranger subjects (“Kinderfeld”).  The confrontational lyrics are enough to drive any parent insane, full of quotable lines sure to enrage.  “I wasn’t born with enough middle fingers,” immediately comes to mind, right up there with, “Hate every motherfucker that’s in your way” and, “I’m on my way down now / I’d like to take you with me.”  Perhaps the song most indicative of the album’s overall mood is the anthemic “1996,” an almost nihilistic reflection on societal rejection.

Antichrist Superstar may not be as meaningful now as it was to me when I was a miserable teenager, but it’s still a good listen as long as it isn’t taken too seriously.  It’s important to remember that this album is a product – and that doesn’t make it any less genuine, it just means that each and every bit has been meticulously crafted for maximum impact.  And if there’s one thing that Antichrist Superstar manages no matter who the listener is, it’s to make an impact.

Written by The Cubist

Other albums by Marilyn Manson in this series:

• 1994 – Portrait of an American Family – Issue #62
• 1995 – Smells Like Children – Issue #61
• 1998 – Mechanical Animals – Issue #78

Back to The Cubist’s 90’s Albums

Written by The Cubist

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