Title: Mad Max: Fury Road | Artist: Junkie XL | Label: Watertower Music | Price: Rs 640 ![]() And while Jesus wept, his Beautiful People dervished on the streets. Shorn of the shtick of shock and the gloss and gossamer of glam, Marilyn Manson has returned to its industrial foundations and found them still firmly laid. The album was recorded largely impromptu in Bates’s basement essentially a diamond in the rough. ![]() The music is straight edge, mostly guitar, bass and production done by Bates, with Manson playing the keyboards and pill bottle (of course) on various tracks, as well as polishing off the rest of the production, and Sharone doing drumming duties all additional musical gaps filled by session specialists. Slave Only Dreams to Be King is vintage Manson, complete with radio samples, distortion and un-satiated rage, while Birds of Hell Awaiting and Cupid Carries a Gun would make an industrialist weep tears of molten joy. One of our favourite numbers in the album is the bluesy Mephistopheles of Los Angeles where he reminds us “Lazarus got no dirt on me, I will rise to every occasion” and “I’m a heretic so lonely, I’m ready to meet my maker” this and the succeeding track Warship My Wreck, remind us that this is the man who was our favourite poet, a sort of uber-fetishised Dylan. It’s got pretty straight rock lines with hooks slinkier than the littlest black dress. The album begins with Killing Strangers, which was unpackaged so gorgeously in last year’s noir-assassin flick, John Wick.
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