Reviewing Marilyn Manson is an interesting proposition; Manson is at a point in their career (or really, isn’t it “his career,” referring of course to Brian Warner, Marilyn himself – the only person, bar a blond female, to grace the album art), one would think anyone who would like Marilyn Manson already does – and many of those who once did have now moved on into new, fresher territory. After all, Manson arguably hit their career high with Antichrist Superstar, though the catalogue after Superstar is long and would likely draw many ardent supporters.
All history aside, if listened to in a vacuum, Eat Me, Drink Me is fairly classic Manson, if perhaps lightened up a bit. His voice is every bit as crusty, dark, and angry as ever, and the synths, bass and drums pound out their usual aggressive anger, but the guitar work, in particular, seems to have lightened up, with occasional riffs that don’t sway too far from slack guitar while other guitar lines are straight-up rock ‘n roll. Few tracks jump out as having the power evinced in some earlier Manson work, wherein one couldn’t help but hit repeat endlessly. Rather, on this album, one track blends to the next, reminding one that Marilyn Manson still exists, but unfortunately not causing grounds for new excitement about them. Token standouts, notable for their somewhat unique sound (for Manson), include the surprisingly melodic “They Said That Hell’s Not Hot” and the downtempo “Just a Car Crash Away” (which feels like Manson aging), both of which arguably stray from the usual Manson canon. Unfortunately, though, for this reviewer, the Manson fix will have to be captured, as always, by the back-catalogue.