来自地狱的惊世魔王，开啟灵魂深处的黑洞深渊，享受瞬间直达地狱的堕落快感，释放最离经叛道且狂野难驯的放浪行径，丢开所有尺度问题、挑战传统道德观，综合性感女神Marilyn Monroe以及美国杀人魔王Charles Manson强烈对比的Marilyn Manson，一位难以捉摸的艺术家，生吞活剥视听双感官，不断试探所有严苛乐评的极限、煽动乐迷的肾上腺激素！全球缔造近5000万的商业銷售成绩，英美两地各12首流行/主流摇滚榜Top40单曲，不仅歌唱界成绩耀眼，更跨足电影、发行多本写真/自传/文字畅銷书！本名Brian Hugh Warner，出道至今争议不断、话题不减，有著雌雄同体的错乱形象，更不改其本色的Marilyn Manson，引来两极化的反应，不是疯狂追随喜爱、就是极度唾弃厌恶！高声敲打阴晦工业金属音浪，一刀未剪的论及性爱、毒品、撒旦以及血腥暴力等话题，Manson越遭各界挞伐，越变本加厉的传递沉沦、堕落与虐待之变态讯息，进出法庭就像自家后院！在恩师Nine Inch Nails灵魂主脑Trent Reznor力挺下，加入环球音乐体系，从1994年首张专辑《Portrait Of An American Family》，一路到2009年的《The High End Of Low》，全部挤进告示牌Top15之林中！永远有取之不尽用之不竭的灵感，使出惊吓艺术的特殊癖好，疯狂失控的舞台演出，都是Manson最独树一格的象徵！
离开合作超过15年的旧东家，首度转加盟英国独立厂牌Cooking Vinyl旗下发行全新大碟《Born Villain》，Manson解释此為一张：「自杀式死亡金属风格，比《Mechanical Animals》专辑散发多些庞克味，没有过分的狂妄自负感，吸收David Bowie的《Aladdin Sane》作品能量。」由曾任U2、Smashing Pumpkins、Green Day、NIN客席指定键盘乐手团员Chris Vrenna和Manson共通製作。就在阴森诡谲的线条指引”Hey, Cruel World...”现形，随后火力全开的爆发强烈摇滚气流，提供相当称头的开场之作；第一主打”No Reflection”，染出一片暗黑色系，恐惧氛围瞬间包围，令人喘不过气的窒息感油然而生，直奔告示牌硬式摇滚数位单曲榜Top21+主流摇滚榜NO.37位置；如同走进鬼屋般可怕特效的”Pistol Whipped”，就在鸡皮疙瘩掉满地之时，鬼魅的喘息和囈语接连唱道，领教Manson气氛营造的真本领；电子气流混乱灌入”Lay Down Your Goddamn Arms”，沉重敲打如同Doom Metal的缓流，少不了的兇猛暴戾美学依旧精彩；直袭脑门爽快感的”Murderers Are Getting Prettier Every Day”，精神分裂般的切割多重人格，交相堆叠嘶吼；最后加赠翻唱同时身拥葛莱美、奥斯卡与金球大奖加冕的创作才女Carly Simon之冠军经典”You`re So Vain”，惊喜邀请好莱坞全方位巨星Johnny Depp吉他伴奏，两人擦爆十足过癮的音乐火花！

The High End of Low is the upcoming seventh studio album by Marilyn Manson. It was recorded in the Hollywood Hills throughout 2008. Sean Beavan, who mixed Antichrist Superstar, Mechanical Animals, and Eat Me, Drink Me, is co-producer of the album. A preliminary date of May 26, 2009 has been set for the US album release. The release date for first single "Arma-God Damn-Mother Fuckin'-Geddon" has been announced for release one week before the albums release.

Taken from the 2003 album, 'The Golden Age of Grotesque'. The title track is backed with three non-LP tracks, 'This Is The New Shit' (feat. Goldfrapp), 'Baboon Rape Party' (prev. unreleased), & 'Mobscene' (Video). Interscope.

3年后发布了第五张专辑——The Golden Age of Grotesque。同时直到2003年，摇滚乐——尤其是重金属，正强烈需要一个有着高贵形象和宏伟的雄心的艺人，而Marilyn Manson正是这么一位。毕竟，The Golden Age对于日耳曼艺术、歌舞剧艺术以及早已衰弱的Hollywood30年代的魅力，意图通过用节奏强烈的重金属重新加以诠释，为其赋予现代化意义从而能跟上时代的潮流。但在如今这个年代，摇滚艺人对于80年都没有什么印象，更不用说是30年代了，而人们常常会忽略这个因素，尽管音乐不是他们的事业。
从音乐上来说，Manson并没有抛弃他们最本质的音乐特征——他仍在不懈坚持Holy Wood中最根本的音乐元素——但这张由他本人第一次担当制作的专辑却显得肤浅而轻盈，尽管音乐仍笼罩于扭曲和吼叫之中。Manson已从反复处于众人的关注之中解脱，他的音乐也随之变得更加外向。这种新的自由空间也让他有时候显得有点糊涂可笑——比如在“This Is the New Sh*t”中那毫无意义的声音，以及在“Mobscene”中对Faith No More的“Be Aggressive”的借用还有其中的歌词“You are the church/I am the steeple/When we f*ck we are God´s People”——但所有这些并没有为专辑摸黑，而且从其他方面说，也成为专辑的一个显赫之处。专辑所营造出来的那宏伟而壮丽的气势却是压倒Manson所有同行的，而且也不差于他前先的专辑。The Golden Age中也带有稍许的诙谐幽默成分，这也为专辑本身舔色不少。 老美以行动向恐怖教主Marilyn Manson/玛莉莲曼森乐团宣示效忠，单单美国一地至今已累积6百万张的总销售天量，这支哥德式工业摇滚团体在乐界开创惊悚视觉与听觉的地位绝不亚于文坛的恐怖大师史蒂芬金。 向来以惊世骇俗的扮相与挑釁卫道人士的言论著称的Marilyn Manson，’96年首次出辑《Antichrist Superstar/离经叛道》就因鼓吹反宗教无神论而引爆争议，也树立起Marilyn Manson无与伦比的毁灭者形象、’98年苍白人妖鬼魅造型的《Mechanical Animals/机械化动物》更缔创空降Billboard流行专辑榜冠军佳绩、横扫全美，之后再以20世纪末的超猛天碟《Holy Wood/亡命圣林》激销全球150万张，虽然´99年时曾发生Manson崇拜份子扫射校园师生事件的憾事，但他们挑战世俗眼光的大胆言词与创意仍然毫不妥协。 阔别两年全新专辑《The Golden Age Of Grotesque/惊世骇俗》的创作概念是Marilyn Manson发想自30年代好莱坞的灵感，由Marilyn Manson与Tim Skold制作、Ben Grosse混音。首打“Mobscene”夺得英国摇滚单曲榜No.8 (5/4)与德国排行榜No.8；“This Is The New Shit”更雀屏中选为基努李维主演卖座电影系列续集《骇客任务：重装上阵》的电影主题曲绝对值得珍藏

MARILYN MANSON既是一支来自佛罗里达的乐队的名称，又是该乐队主音歌手的名字。　这个来自美国中西部的歌手原名BRIAN WARNER，在俄亥俄州的CANTON度过孩提时代。他从小不和父母同住，向往着有朝一日成为象OZZY OSBOURNE一个的个性英雄。18岁时，移居佛罗里达，在当地的TAMPA湾地区从事音乐评论工作。1989年他化名MANSON，遇到了吉他手SCOTT MITCHELL（真名为SCOTT PUTESKY）这两人一拍即合，彼此发瑞其对南佛里达音乐景象的看法极其相似。根据MANSON在小型谈话节目中得到的经验和由60年代两个著名名词组合而来的名字的启发，他给SCOTT起名DAISY BERKOWITZ，分别来源于公爵DAISY的爵士乐组合和杀手DAVID BERKOWITZ。在贝司手GIDGET GEIN和键盘手MADONNA WAYNE-GRACY加入之后，名为MARILYN MANSON和THE SPOOKY KIDS的乐队正式成立。

Holy Wood (In the Shadow of the Valley of Death) is the fourth studio album by American rock band Marilyn Manson. It was released on November 11, 2000 by Nothing and Interscope Records. A rock opera concept album, it is the final installment of a triptych that also included Antichrist Superstar (1996), and marked a return to the industrial metal style of the band's earlier work, after the glam rock-influenced production of Mechanical Animals (1998). After its release, the band's eponymous vocalist said that the overarching story within the trilogy is presented in reverse chronological order: Holy Wood, therefore, begins the narrative.
In the aftermath of the Columbine High School massacre on April 20, 1999, mainstream media widely reported that its perpetrators were wearing the band's T-shirts during the rampage, and had been influenced by their music. As their first release after the massacre, the record was Manson's rebuttal to the accusations leveled against him and the group, and was described by the vocalist as a "declaration of war". It was written in the singer's former home in the Hollywood Hills and recorded in several undisclosed locations, including Death Valley and Laurel Canyon. His ambitions for Holy Wood initially included an eponymous film exploring its backstory—a project which has since been abandoned and was modified into the as-yet-unreleased Holy Wood novel.
The album was released to generally positive reviews. Several writers praised it as the band's finest work, and multiple publications ranked it as one of the best albums of 2000. British rock magazine Kerrang! went on to include it on its list of the best albums of the decade. In the US, Holy Wood was not as commercially successful as the band's preceding records, debuting at number 13 on the Billboard 200. However, it became their most successful album internationally, debuting in the top twenty of numerous national charts. It was certified gold in several countries, including Canada, Japan, Switzerland and the UK.
Three singles were released from the record: "Disposable Teens", "The Fight Song" and "The Nobodies", and the band embarked on the worldwide Guns, God and Government Tour. In 2010, Kerrang! published a 10th-anniversary commemorative piece in which they called the album "Manson's finest hour ... A decade on, there has still not been as eloquent and savage a musical attack on the media and mainstream culture ... [It is] still scathingly relevant [and] a credit to a man who refused to sit and take it, but instead come out swinging."

This is the record I've worked all my life to get to. You always have to transform, or you can’t continue as an artist, and this record has been the biggest transformation for me. . . It’s better heard than described. . . On this record I really wanted to sing, and that has to come from a naked, emotional place. It's not a record about me crying, or songs about my woes, but I think this record will probably speak to more people in different ways, because of its total human element. . . If I had to do a record review, I’d say it’s got a cannibal, consumption, obsessive, violent-sex, romance angle, but with an upbeat swing to it. . . The album's title [Eat Me, Drink Me] was also inspired by that story several years back of the German man who put out an ad that he wanted to be eaten, and the man who ate him. Although I can't relate to the relationship those two had, I found the story very compelling in a romantic way. I think a lot of people wouldn’t look at it as romantic, but it was to them in some sick way, and it is to me in some sick way, too. — Marilyn Manson, Revolver

Brian Hugh Warner, known professionally as Marilyn Manson, is an American singer, songwriter, record producer, visual artist, and former music journalist.

The group's smash 1998 album with a three track bonus videoCD added & featuring 'The Dope Show' (Worldwide BannedVersion), their cover of Eurythmics' 'Sweet Dreams' & 'TheBeautiful People'. The main disc contains 14 audio tracks,including the single 'The

Four years since his last studio album, and following up on his highest charting radio single ever ("Personal Jesus", from Lest We Forget), Marilyn Manson returns with "Eat Me, Drink me". Art openings, soundtrack appearances, and personal circumstance have grabbed headlines for Manson in recent months, setting the stage for the release of Eat Me, Drink Me, which is unquestionably the artist's most personal statement yet. Always the provocateur, in what may be the ultimate subversion of the code of aggro-rock, the songs are immediately catchy - all jagged guitar hooks, anthemic choruses, with an overlying glam-rock sheen. Lyrically Manson has never been more riveting, seemingly having enough to draw from in his own life and from society at large to present a fresh, snarling vision.

“Third Day Of A Seven Day Binge” is the first taste from Marilyn Manson’s forthcoming album set to arrive in early 2015. You can listen to it below and download the track at MarilynManson.com.

1996 Interscope release, a single for their hit cover of theEurythmics #1 smash from 1983. Housed in a slimlinejewel case, its backed with 'Dance Of The Dope Hats' (Remix),'Down In The Park' (cover of the Gary Numan new waveclassic) and 'Lunchbox (Next Mot

marilyn manson也许是90年代继nirvana之后,最具时代感召力的乐队。这位美国的邪教使者,痴迷于恶魔力量的感召,将丑恶在音乐中一再夸张放大,并采用了一种时尚的折衷手法,巧妙地将后grunge的虚无主义以及哥特音乐的腐尸气息与流行音乐的煽情元素结合在一起,制造出了90年代中后期最具魔鬼魅力的摇滚乐。
在这张94年的专辑中,地狱的狂欢景象始终压迫着听者的神经。后hardcore式机械单调的鼓击,死亡金属阴暗凝重的和弦段落,将死亡的氛围渲染得淋漓尽致。marilyn manson用地狱恶魔般的嗓音歌颂着撒旦的复活。
"dope hat"中犹如群魔狂舞般诡异的节奏,加上manson嗜血一样的咆哮,描绘了一幅世纪末的恶魔盛宴图。不要怀疑为什么会有那么多的青年如飞蛾扑火般将他奉为自己的图腾,在这个所谓的网络时代中,也许上帝早已死了,撒旦将会降临世间去接管这些麻木而自甘堕落的灵魂。

玛莉莲 曼森乐队1995年出的EP Lunchbox。Marilyn Manson乐队是近年哥德摇滚的杰出典范。1990年组成时原叫Marilyn Manson AndTheSpookyKids，后缩短为Marilyn Manson。乐队共有五名成员组成，除主唱Marilyn Manson外，还有吉他手Zim Zum，鼓手Ginger Fish、键盘手Madonna Wayne Gacy，以及低音歌手兼贝司手Twiggy Ramivez

The first hit, produced by Trent Reznor, from their smashalbum 'AntiChrist Superstar'. Pt.1 is backed with 'TheHorrible People' (Danny Saber Remix), 'Cryptorchild' andtheir cover of the Eurhythmics' 'Sweet Dreams'. 1997 Nothingrelease. Slimline jewel case.

Taken from the 2003 album, 'The Golden Age of Grotesque'. The title track (Album Version) is backed with three non-LP tracks, 'This Is The New Shit' (MM vs. Goldfrapp), 'Mind Of A Lunatic' (prev. unreleased) & 'This Is The New Shit' (Video). Interscope. 2003.

A master of showmanship, shock value, and theatrical controversy, Marilyn Manson has unquestionably cemented his place in American pop culture. The Antichrist Superstar’s industrial-strength 10th album is as diverse as it is brash. Bluesy riffs violently fling from beat to beat on the swaggering “Tattooed in Reverse,” the deliberately obnoxious “WE KNOW WHERE YOU FUCKING LIVE” shrieks and shakes with the disemboweling aggression of Mechanical Animals’ finest moments, and, in a rare moment of (relative) fragility, Manson pleads for understanding on “Blood Honey,” insisting, “I’m not being mean/I’m just being me.”