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Dissecting Marilyn Manson

Sergio Pereira — Fri, 03 Feb 2012 10:42:18 +0000

Marilyn Manson, the shock rocker born Brian Hugh Warner, is putting the final touches on his eighth studio album, Born Villain, which will be released sometime in 2012. Despite losing many crucial band members over the years (they all seem to end up in Rob Zombie’s band), Marilyn Manson hasn’t thrown in the lipstick-smeared towel yet.

Looking back at MM’s career, we’ve chosen to dissect the band and find out what sort of influences are running amok. Obviously different folks pick up different influences, but there are the 5 bands that we found have the most in common with Marilyn Manson.

Nine Inch Nails (25%)

Even though Trent Reznor and Marilyn might not be spending Christmas holidays in Disneyland anymore, there was a time where they were inseparable. Trent signed Manson to his label and was involved in the production of Portrait of an American Family, Smells like Children and Antichrist Superstar. In fact, much of Manson’s material smells like NIN.

David Bowie (30%)

One glimpse at the cover of Mechanical Animals (1998) tells you everything about this comparison. The androgynous images that intend to provoke and make you uncomfortable, plus the fact that Manson himself has stated that David Bowie is his biggest influence in numerous interviews, all confirm that Mr. Manson loves some Ziggy Stardust in his life.

Kiss (10%)

The makeup. The outrageous over-the-top stage shows. The costumes. There’s no doubt that Kiss helped shape Manson’s stage persona in some form.

Alice Cooper (15%)

Who was the original shock rocker pissing off parents and getting banned? Alice was, of course. Manson is undoubtedly more controversial than Cooper ever was, but he must’ve learnt a thing or two from the ‘Poison’ singer.

Iggy Pop and The Stooges (20%)

Firstly, Marilyn Manson reek of punk influences. Secondly, the showmanship of Iggy Pop is something that Manson has studied and imitated to the tee. Rolling around on shards of glass, self-mutilation, destroying equipment, simulated sex with the audience? Hell, this sounds like the 70s to me.

- Sergio Pereira

Interview: Contrast The Water

Sergio Pereira — Thu, 02 Feb 2012 06:36:51 +0000

Hard work. Perseverance. Never say die. Those are all qualities that MusicReview appreciates in true musicians. One band that epitomises this code of honour is Durban’s Contrast the Water. Kicking ass and taking stripper names in the U.S. at the moment, CTW are making things happen for themselves, without relying on the music machine to give them any handouts. Vocalist Barry Drewett chats to us about their nomination in our poll, metalheads around the world and being far beyond driven.

We were insanely impressed by how you guys managed to mobilise the metal community to get behind you in our “Best Local Artist of 2011” poll. How does it feel to know that your fans put you guys ahead of an act such as Van Coke Kartel?

Well, first off we would like to thank you at MusicReview.co.za for actually nominating a death metal band; this is exactly the kind of support metal needs in South Africa, so a big shoot-out to you guys for nominating us in the first place. We knew that the metal crowd would get behind us on this, as it was more an issue of South African heavy metal getting the recognition of the mainstream industry than getting CTW to actually win. We are such proud metalheads at the moment, and so proud to say we are a part of the South African metal scene. We just got to send a shout-out to Mark Haze, a hard working and gifted artist, as all the bands on the list where, and we were just honoured to be a part of it all.

We’ll pass on the kind words to Mark. So, what inspired Contrast the Water to release their album, Perseverance, for free? Surely, it must’ve cost you cash to record. How do you plan on recovering these costs?

Nowadays, in the global music industry, downloading is here to stay, and with the internet expanding to countries that battle even to get metal, people have a better chance to hear your music by downloading. It’s something we support with our music, to download and share with as many metalheads all around the world. Your music is your marketing tool. More people can get our music, because we want them to have it. We were very lucky to have a good friend of ours, Michiel van Niekerk, from The Campus Of Performing Arts and Erebus, to offer his services while he was doing his Honours in music production and recording. So, we never had to pay for our recording – just petrol money and food. Most of the time, the record was recorded in my lounge, while I jammed Xbox. With today’s technology, you don’t need a studio. So, we were in a great position for this album. So, our recovering cost is the joy on the fans faces in the pit when they can mosh out to our music.

You guys have been in the States for a while. What do you think of the scene there? Do they suffer from the same sort of issues that we do here?

The scene in the USA is way bigger than our scene, and the bands we worship at home are just a part of the scene here. There is a huge resurgence in heavy metal at the moment, and the vibe in the Bay Area is very positive. We tend to steer clear of any politics, or negativity, irrespective of what scene we are in; we are a band and it is our job to perform for our fans, and not to get caught up in any naysaying or ‘hating’, as it just destroys what we are all trying to achieve, and stagnates the scene.

Speaking of negativity, there has been some controversy regarding CTW and alleged statements that have been quoted about why you guys left South Africa for the U.S. Care to fill us in on what actually happened?

Yes. First off, this misconceived perception that we immigrated, or relocated to the States, is absolute nonsense, and a continuous source of amusement when we hear all the rumours of all the reasons why we are here. Simply put, Chris Kontos heard our demo for Perseverance, and felt we had something to offer the metal industry, and we set up a tour to promote The Alliance for Artist Rescue, and raise awareness about our own heavy metal industry. Chris had just got asylum for the amazing Iranian guitarist Artak Ozan, and is involved in rescuing several other artists, and this got a huge response, and hence the ABC interview. Our part in the interview was just the South African band that was on the promotional tour for A.F.A.R.; it was a very emotive interview, involving three different stories. The quote I made was in reference to lyrical content, and not to the state of our nation. We have been a socially conscious band for 6 years; our fans know it, and have supported us through everything we have been through, and our fans are well-versed metalheads with a mind of their own.

Burn Nightclub is closing down pretty soon, and since CTW are from Durban, we have to ask you: what’s going to happen to the scene in Durban? Are there any other venues that you think will cater for the metal crowds?

No venue is bigger than any scene, and the fact that Burn is closing, should in no way effect any bands progress. We have played in many different venues in Durban, including school benefits at fairs, etc, and there are several venues in Durban that are more than happy to host metal events because they realise that metalheads drink bars dry, so it will mean just a little more work, and a little inventiveness.

You’re coming back to South Africa soon. What’s the plan for when you arrive? New album?

When we get home, we are going on hiatus for a month to recuperate. We have been writing new material continuously, but we still have to finish touring Perseverance, before we even start thinking about a new album. We are looking to tour Indonesia and Europe this year, and preparing to tour the USA summer circuit in 2013.

We have to be realistic here; it’s hard for a South African metal band to survive in the local industry full-time. Do you see yourselves making the move overseas permanent, or are you going to try your luck here once again?

Yes, we have to agree with you there, but it is not as bleak as it is made out to be. As a touring international band, you could operate from S.A., which would give you the added advantage of the current exchange rate, or you could relocate – but these are all questions that will have to be answered by South African bands who take the chance and take their music abroad. For us, at the moment, the world is a stage, and we’re just hanging on real tight, and enjoying what we are being exposed to.

Do you think any local bands, apart from CTW, have what it takes to succeed overseas?

Most certainly, yes! The metal bands in South Africa are as competitive as any band we have seen. Just live your dream, man, and love what you doing. Don’t doubt yourself, work hard, sacrifice, and, man, just be “Far Beyond Driven”!

- Sergio Pereira

Dowsing the Flame: A Tribute to Burn Nightclub

Claire Martens — Wed, 01 Feb 2012 07:44:48 +0000

My first experience of Burn Nightclub in Durban was in my undergraduate years, when I religiously listened to bands like Disturbed, System of a Down and Saron Gas. Of course, when your soundtrack to life is every hard rock band on the planet, it makes sense that your happiest moments are moshing to Burn’s customary playlist. Although, I am just a regular girl, in many ways, I have always been attracted to the underground nightclub circuit, and I quickly realised that Burn offered a sanctuary to many people like me and, of course, to those who are a little different. I always felt like no one was judging me for my normalcy, just as no one was judging the people who, in the era of Twilight, could easily sparkle in the sun.

Unfortunately, I didn’t get the required unhealthy dose of Burn, which Durbanites were lucky enough to be privy to – hangovers included. But every Varsity holiday required at least one trip to Umbilo Road; for a game of pool, cheap shooters and an alternative band or three. Burn quickly became an institution in Durban, mostly because it was a well-known and popular venue for rock and metal acts in that little corner of the country. It is important to recognise that it existed off the beaten path, far from the particularly hardcore metal scene that rocks Johannesburg, and yet ranked highly amongst other venues like it. Say the words, “alternative scene in Durban” and you immediately think of Burn.

The origins of Burn are notorious and extremely black metal; which is fitting. One of Durban’s clubs from back in the day, Jamie’s Nightclub, burned down in 2000 to be replaced by Burn, named for the accident itself which cost Durban one if its only alternative playgrounds. But the birth of Burn was no tragedy, and I know that everyone who has ever spent a night within its nefarious, smoky walls has a few good stories to tell. Besides, its tendency to include anyone from lost teenagers to drug dealers, its lack of conventional class was a good enough draw-card for anyone with a limited budget and fear of jocks. It was your regular alternative joint, just like Doors in Joburg, Gandalf’s in Cape Town and Die Mystic Boer in Bloemfontein.

Being around for 12 years has meant that a couple of generations of people and bands have passed through its doors and not all change has been good. Many friends of mine have mourned the closure of the Umbilo Road Burn, when the club was relocated to Walls Avenue in 2006. Visiting the new Burn, despite the relief of the breezy rooftop on hot Durban nights, many around me lamented “old Burn”, as it was fondly known; as did I. It was during a particularly brutal set of Contrast the Water that I realised that the live sound in new Burn was bound to create brain leaks and deafness.

Despite its shortcomings, it is with dismay that I now bring news of Burn’s imminent closure in March this year. There is much speculation about why. On Burn’s group walls, there are a few bitter words spoken of “Barbies” and “Kens”, referring to the influx of those dreaded jocks and their Betties. While the closure of Burn cannot be attributed to the influences of certain unwanted kids, I, too, judge the new breed of scenesters, who bring a little too much colour to the inner sanctuary that is a metal club. I think about the boy I once met who wanted to tattoo tears onto his cheeks and long for the days of old.

Saying that the closure of Burn should be noted in the history books seems a little melodramatic – but since when has the alternative scene not been a little melodramatic? Alternative clubs in South Africa are few and far between, offering more than just sanctuary for the pierced and forlorn, but a place where history happens. Alternative clubs are the breeding grounds for live music, for a new type of culture and for kids to release their pent up rage and frustrations. Any person who has a couple of metal t-shirts in the cupboard knows that society often has no place for them. They are metalheads for a reason; a reason impossible to explain. But no explaining needs to be done in a place like Burn.

The dilution of this special place, through the seeping in of those who lack the understanding of what metal means to the outcasts, does not detract from what Burn offered us. The alternative kids I knew were always more inclined towards hospital visits and car accidents; they carried scars like badges of honour; they were the surfers with lost limbs. They would never leave a drop of alcohol in a bottle and could sniff out roadblocks like dogs. They were dangerous fun, depressed people but happy drunks, who would not judge your differences. And that’s why a night at Burn was necessary once in a while. It tended to end with blood, but cleansed you of all your emotions. It was rehab for the soul.

The closure of Burn is different to the closure of other clubs, which are barely noteworthy. You cannot simply move on down the street and find the same thing somewhere else. This is why I have written this tribute. Burn introduced me to a place where people are varied and unnatural, where music is the driving force behind peoples’ feelings and where you could forget the outside exists, if only for a few hours. I am sure a few Burn tattoos will rise up from the grave, adorned on the adorers. Only one of the most notorious alternative clubs could invoke such loyalty. I have no doubts that something will take its place. Where there is smoke (and metal), there will always be a fire burning.

- Claire Martens

MusicReview » Headline

Dissecting Marilyn Manson

Top 8 Video Game Characters That Would Make Good Musicians

Interview: Contrast The Water

Dowsing the Flame: A Tribute to Burn Nightclub