Marilyn Manson discography and songs: Music profile for Marilyn Manson. Albums include Antichrist Superstar, Mechanical Animals, and Holy Wood (In the.

• ' Released: September 15, 1998 • ' Released: February 17, 1999 • ' Released: June 14, 1999 Mechanical Animals is the third studio album by American band. It was released on September 15, 1998,. The album marked a major shift from the and styles of the band's earlier efforts, into an experimentation with 1970s with and styles. As their first release following the success of their breakthrough album, 1996's, Mechanical Animals ' themes primarily deals with the trappings of fame and drug abuse. A and, Mechanical Animals is the second installment in a trilogy which included Antichrist Superstar and 2000's. After the release of Holy Wood, Manson said that the overarching story within the trilogy is presented in reverse chronological order; Mechanical Animals, therefore, acts as the bridge connecting the two narratives and remains constant whether the trilogy is viewed in reverse or not. The album has been certified platinum in the United States, Canada, and New Zealand.

It spawned the singles ', ', and ' as well as the promotional single, '. The album debuted at number one on the, making it the first Marilyn Manson album to do so. Most people, by the standard dictionary definition, are androids. There's no reason to envision a sci-fi world of people with metal inside of them — already, people that walk around look like human beings, but they don't act like it.

They don't express any kind of creativity, they don't show any emotions — they've dumbed themselves down with drugs, with television, with religion. —Marilyn Manson Following the conclusion of their year-long in September 1997, the band relocated from Fort Lauderdale, Florida to Hollywood, California. Work on Mechanical Animals began soon after.

By early December of that year, the singer began opening up on the then new and unnamed record's development, sitting down with 's 'Year in Rock' special on December 12. Early on, it was reported the new album would be produced by the Los Angeles-based production team, the. Hollywood movies tagalog dubbed. According to, '[They] have completed work on a few tracks on the next effort from Marilyn Manson.' During this early development stage, the band recorded in Manson's home recording studio in the which the group had taken to calling 'The White Room' after Manson painted it all-white. Manson explained that the studio 'looked out over, which kind of represented space to us.'

Manson also intoned, 'the theme of whiteness comes up a lot on the album, representing a void empty of color and feelings and emotions. We were trying to fill that void with the songs.' Billy Corgan involvement [ ] Manson's friend, frontman, served as an unofficial music consultant for the band. After playing a few of the early songs for him, Corgan advised that 'This is definitely the right direction' but to 'go all the way with it. Don't hint at it.'

Despite this, almost 20 years after the release of Mechanical Animals, keyboardist (who left the band in the intervening years) disputed 'arrogant-yet-whiny ass' Corgan's involvement and claimed 'the majority' of the album was 'written long before Billy Corgan ever showed up.' He went on to describe Corgan as pretentious and 'thinks he's.' Sessions with Michael Beinhorn and Sean Beavan [ ] The band subsequently employed as principal producer, co-producing the record with.

Was also brought in to supply additional production work. According to Manson, the bulk of the material was written and recorded at that house before Beinhorn came on board.

'For the most part, I had a very specific vision of what I wanted to do and how to do it.' By May of that year, having completed his obligations for 's then-new album,, Beinhorn confirmed that the nascent Manson project was halfway complete and on course for a late summer or early fall release. Manson, for his part, spent the early part of the year on break from the studio to promote his autobiography,. During his February 24, 1998, interview on 's to promote the book, he divulged that having exhausted the topic of organized religion in the previous record, Mechanical Animals would see a major shift in focus: 'Both sonically and lyrically it's about the depression of alienation, rather than the aggressiveness of it.