Holy Wood (In The Shadow Of The Valley Of Death)

Publication date: 2000

01.Godeatgod

02. Love Song

03.Fight Song

04.Disposable Teens

05.Target Audience (Narcissus Narcosis)

06.President Dead

07.In the Shadow of the Valley of Death

08.Cruci-Fiction in Space

09.Place in the Dirt

10.Nobodies

11.Death Song

12.Lamb of God

13.Born Again

14.Burning Flag

15.Coma Black: Eden Eye/The Apple of Discord

16.Valentine's Day

17.Fall of Adam

18. King Kill

19.Count to 6 and Die

Album review:

In 2000, Marilyn Manson had not yet recovered from fans’ rejection of Mechanical Animals. Later, Columbine Records left him deeply traumatized. The worst thing is that he no longer belongs to the image of the American devil. What was Brian Warner prepared to do - stand on such a precarious footing. As a smart man, and as a rational businessman, he knew it was time to consolidate his strength - combine Omega with Antichrist Superstar, and return to the brutal, controversial and operatic chapter of music - To create a conceptual album that would appeal to alienated teenagers and guardians of traditional culture in general. The resulting album, Holy Wood (In the Shadow of the Valley of Death), is intended to be the concluding chapter of the three-step series begun by Antichrist Superstar. The esoteric story threads in it are actually quite Marilyn Manson's autobiography. color, but it's not the story that's surprising - he ended up fusing the melodies and subtle sonic shadings of Mechanical Animals with the gritty neo-industrial metal style of Antichrist. Therefore, it is easy for people to regard this album as Marilyn Manson's music-defining album - the album has beautiful tunes and hoarse voice. The album's brilliance lies in the near-perfect detail that Manson's thoughtfulness created - in the lyrics, the album's themes, the album's production, the song sequencing, the comic parody and self-plagiarism embodied in the lyrics and music. Self-blasphemous cover art effect. This hard work on the album makes Holy Wood an excellent album that is stronger and more consistent than Marilyn Manson's other works. If there's a problem with the album, it's that Manson's hard-hitting rock music seemed bizarre at this time in 2000.

Eminem's surrealist fantasy was the iconic music of that year, while Marilyn Manson's rock operas, religious torture and gothic sounds all belonged to that bygone era. But this did surprise Warner - because Holy Wood turned out to be quite successful.

Translated by Stephen Thomas Erlewine and excerpted from AMG