1. If I Was Your Vampire 
2. Putting Holes in Happiness 
3. The Red Carpet Grave 
4. They Said That Hell’s Not Hot 
5. Just a Car Crash Away 
6. Heart-Shaped Glasses (When the Heart Guides the Hand) 
7. Evidence 
8. Are You The Rabbit? 
9. Mutilation is the Most Sincere Form of Flattery 
10. You and Me and the Devil Makes 3 
11. Eat Me, Drink Me
+
12. Heart-Shaped Glasses (When The Heart Guides The Hand) (Inhuman Remix)
13. Heart-Shaped Glasses (When The Heart Guides The Hand) (Space Cowboy Remix)
14. Putting Holes In Happiness (Acoustic)

Performer, Producer – Marilyn Manson, Tim Skold 

It's been a long time since Marilyn Manson truly seemed like a transgressive force, but when you spend a lifetime crafting a persona as a rock & roll boogeyman, it's not only hard to shake that image, it's unlikely that you'd want to shake it. Manson has never shown any indication that he's wanted to change, which somehow came as a surprise to his betrothed, burlesque diva Dita Von Teese, who according to published reports in the wake of their divorce seemed shocked, shocked that Manson wanted to stay up late and take drugs, the kind of eternally adolescent behavior that only rock & roll stars can get away with as they approach 40. Better for Marilyn to sever that marriage and turn toward a true teenager: Evan Rachel Wood, the blandly pretty star of Thirteen who provided MM with a brand-new muse for Eat Me, Drink Me, his sixth studio album. Frankly, Manson probably needed something to shake up his music, which started to become comfortably predictable in the wake of his popular/creative peak of Mechanical Animals, but the stab at soul-baring on Eat Me might not have been the way to do it. But Manson is such a true believer in rock & roll mythos that he's wound up embracing the cliché of the post-divorce confessional album, peppering this album with songs about broken relationships and new love. Personal songs are unusual for Manson, but that doesn't mean he's abandoned his tendency to write about grand concepts. The difference is that this time around, Manson himself is the grand concept -- there's no excursions into neo-glam or decadent German glamour -- which may give him a lyrical hook, but not a musical one. On a sonic level this is a bit of Manson-by-numbers -- all his signatures are in place, from the liberal appropriations of Diamond Dogs to the cheerful immersion in dirges and his tuneless vampire drone -- but it feels as if his usual murky menace has lifted, with the music sounding clearer, less affected, and obtuse, while still retaining much of its gothic romanticism and churning heaviness. If anything, Eat Me is a bit too transparent, as its clean arena rock production -- all pumped up on steroids, devoid of much grit -- makes the album sound safe, a bit too close to Manson cabaret for comfort, especially when he's penning songs whose very titles feel like unwitting self-parodies ("If I Was Your Vampire," "You and Me and the Devil Makes 3," "They Said That Hell's Not Hot"), or when he lazily spews out profanity as the chorus to "Mutilation Is the Sincerest Form of Flattery." These are the moments where Manson seems like the eternal teenager, unwilling and unable to grow up, and they provide a bitter ironic counterpoint to the rest of the record, where he is striving for an emotional honesty he's never attempted before. Put these two halves together, and Eat Me, Drink Me becomes an intriguing muddle, an interesting portrait of Manson at the cusp of middle-age melancholy even if as sheer music it's the least visceral or compelling he's ever been. ---Stephen Thomas Erlewin, AllMusic Review

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01 – Hey, Cruel World		play
02 – No Reflection
03 – Pistol Whipped
04 – Overneath the Path of Misery
05 – Slo-Mo-Tion
06 – Gardner
07 – Flowers Of Evil
08 – Children Of Chain
09 – Disengaged
10 – Lay Down Your Goddamn Arms
11 – Murderers Are Getting Prettier Every Day
12 – Born Villain
13 – Breaking the Same Old Ground
14 – You’re So Vain
15 - No Reflection (Radio Edit)		play

Musicians:
    Marilyn Manson – vocals, lyrics, guitars
    Twiggy – guitars, bass guitar, keyboards
    Chris Vrenna – keyboards, synthesizers, programming, percussion
    Fred Sablan – bass guitar, guitars
    Jason Sutter – live drums on the tour for Born Villain, drums (14)

Marilyn Manson has always done well playing the tragic hero - or the sacrificial lamb. So it seems appropriate to quote Macbeth near the beginning of "Born Villain," the shock-rocker's first new album in three years. "This is a tale told by an idiot full of sound and fury," he sings in the song "Overneath the Path of Misery." It fits so well and there's certainly plenty of that here. But "Born Villain" finds a seemingly refreshed and clear-minded Manson and his band poring through a diverse set of moods and styles in songs that cut a little deeper than the deliberate provocation of many of his previous works. The raw and often stripped-down set is built on sophisticated dynamics, while references to the Stooges ("The Gardener"), glam rock ("Slo-Mo-Tion") and even blues ("Lay Down Your Goddamn Arms") accent the pulsing industrial undercurrent and foreboding spookiness that are Manson's stock in trade. He's not just, as the song says, "Breaking the Same Old Ground." And the bonus track cover of Carly Simon's "You're So Vain" with Johnny Depp is a welcome dose of cacophonous camp. --- billboard.com

With their eighth studio album, Born Villain, Marilyn Manson return from the depths of their mid-2000s limbo with almost an hour of the type of evil industrial and glam-infused metal they made their name on in their earliest days. While the band's blazingly controversial public profile died down tremendously since their late-'90s heyday, legions of devoted fans followed them through the next decade's bevy of changes. The departure of founding member Twiggy Ramirez coincided with a few of the band's weakest albums, and even his return to the fold on 2009's The High End of Low couldn't redeem a substandard record from what seemed like a flailing band past its prime. Born Villain sheds some of the more introspective leanings of prior offerings and accentuates all the throbbing rhythms, metallic guitars, and bilious disgust that defined the band's best work. Lead single "No Reflection" screams "comeback," with Manson channeling a Sisters of Mercy vocal over the sinister pulse of the verses before huge choruses explode in darkly catchy bursts. "Children of Cain" draws again on the later-period Bowie influence that defined much of the band's glammy Mechanical Animals album, and an unlisted cover of Carly Simon's "You're So Vain" turns the FM staple into a gruesomely churning romp. Moments like these are the aural equivalent of a knowing smirk from the band, acknowledging that even the princes of darkness might have a lighter side. "Lay Down Your Goddamn Arms" finds the band working in a curiously grunge-tinged mode, with sludgy riffs meeting huge distortedly melodic choruses that would fit in nicely with Badmotorfinger-era Soundgarden. All of these songs find Manson himself in typically depraved form, with lyrical content as sexually, morally, and socially devious as it's been since 2000's devilish Holy Wood (In the Shadow of the Valley of Death). "Pistol Whipped" tells a tale in great detail of a sadomasochistic relationship and song titles like "Murderers Are Getting Prettier Every Day" speak for themselves. Even while Born Villain is a return to form for the band, the album becomes tedious at right about the halfway mark. The songs are overly long and all rely on similar dynamics to propel their crunchy angst. Though sounding inspired and sonically rejuvenated in its best moments, as the album wears on one gets the sense of a band trying a little too hard to revisit its former glory. Without remaking "The Beautiful People," there's still a feeling that they're reaching to remember how to make a Marilyn Manson record and put the purgatory of their past few efforts behind them. All told, Born Villain is as valiant and exciting an effort as the group has come up with in years. While not reaching the dizzying heights of Marilyn Manson's early material, it suggests a band getting its legs back after a long period out to sea, and could lead the way to even brighter future wickedness. ---Fred Thomas, AllMusic Review

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CD1
1 	Devour 	3:45
2 	Pretty As A ($) 	2:45
3 	Leave A Scar 	3:55
4 	Four Rusted Horses 	5:00
5 	Arma-godd**n-motherf**kin-geddon 	3:39
6 	Blank And White 	4:27
7 	Running To The Edge Of The World 	6:26
8 	I Want To Kill You Like They Do In The Movies 	9:02
9 	WOW 	4:55
10 	Wight Spider	5:33
11 	Unkillable Monster 	3:44
12 	We're From America 	5:04
13 	I Have To Look Up Just To See Hell 	4:12
14 	Into The Fire	5:15
15 	15 	4:22
16 	Pretty As A ($) (Alternate Version) 	2:26

CD2
1 	Arma-Goddamn-Motherfuckin-Geddon (Teddy Bears Remix)	3:31
2 	Leave A Scar (Alternate Version)	4:03
3 	Running To The Edge Of The World (Alternate Version)	6:08
4 	Wight Spider (Alternate Version)	5:28
5 	Four Rusted Horses (Opening Titles Version)	5:03
6	I Have To Look Up Just To See Hell (Alternate Version)	4:08
7	Arma-goddamn-motherfuckin-geddon (Alternate Version)	3:39
8	Into The Fire (Alternate Version)	4:34

Backing Vocals – Twiggy
Bass Guitar – Twiggy
Drums – Ginger Fish
Guitar – Manson, Twiggy
Keyboards – Vrenna, Ramirez
Lead Vocals – Manson
Mixed By – Sean Beavan
Percussion – Ginger Fish
Piano – Ginger Fish (tracks: 14) 

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-godd**n-motherf**kin-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. ---Phil Freeman, AllMusic Review

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