From Eminem one week, to a pair of double M's the next, welcome to another week in new album releases.
Our two pair of MM's this week couldn't come from further ends of the musical spectrum. On one end of the room we have sweet Mandy Moore, and on the other we have the Antichrist himself (or so he would love you to believe) in Marilyn Manson.
Our own Donald Gibson will be along shortly with the lowdown on Ms. Moore. We've also got Pico waiting in the wings with his report on a live jazz reunion of sorts with Gary Burton and a quartet of esteemed guests.
In the meantime, shock rocker and all around evil guy Marilyn Manson is back with The High End of Low. I'm not really sure how much a guy like Manson can really shock us anymore. I mean, since he was last heard from, music fans have been subjected to the pure horror of Miley and the Jo-Bros, right?
Still, Manson gives it his best shot here, complete with song titles like "I Want to Kill You Like They Do in the Movies" and "I Have to Look Up Just to See Hell." So are you scared, yet? Personally, I liked this kind of stuff a lot better thirty years ago when it had an actual melody and was called Alice Cooper. In the meantime, Marilyn's fans can take joy in knowing that Twiggy Ramirez is back for this latest ride into the darkness.
Speaking of scary, Pittsburgh goofballs Black Moth Super Rainbow are back with more of their syntho-stoner brand of psychedelic bubblegum on Eating Us. Next week, it's Elvis Costello and maybe, just maybe, Marilyn Manson's return means hell will actually freeze over and we'll see that Neil Young Archives box. Now, here's Donald Gibson to talk about Mandy Moore.
Nearly two years since the release of Wild Hope, an inspired and impressive album that signaled a new beginning in her music career, Mandy Moore continues to progress as an artist, summoning a thoroughly engaging and precocious pop record with Amanda Leigh.
Impressionable melodies and layered harmonies abound, complementing an eclectic assortment of songs. Standouts include the lush serenity of “Merrimack River,” the offbeat whimsicality of “Pocket Philosopher,” and the utter irresistibility of “I Could Break Your Heart Any Day of the Week.” Whereas Wild Hope represented Moore having found her own creative voice, Amanda Leigh reveals her far more secure in expressing that voice. By enlivening compelling, often-quirky songs while exploring imaginative sounds and melodies, she has delivered her best album to date.
Article comments
1 - Natalia
I love Mandy Moore's new album! Check out a live performance of "Nothing Everything," "Love To Love Me Back" and others.