Holy Wood (In the Shadow of the Valley of Death) Review

Band	Marilyn Manson
Album	Holy Wood (In the Shadow of the Valley of Death)
Type	Album (Studio full-length)
Released	November 14, 2000
Genres	Industrial Rock, Industrial Metal
Labels	Nothing Records, Interscope Records
Length	1:09:11
Ranked	#17 for 2000 , #627 all-time

Reviewer :  SilentScream213         Rating :  85 / 100

Marilyn Manson’s third album in his original triptych, although chronologically this is the first in the story. A myriad of drama surrounds this album, with the columbine massacre occurring the previous year in which Manson was blamed. The album and concept is deeply layered within a tale exploring celebrity, consumerism, death, and much more. But writing about the history, context, and story of the album could fill a research paper – and you can find it all on Wikipedia anyway – so I’ll write instead about how I feel about the music.

The album opens with many of the most “normal” sounding songs that would become classics defining the band’s sound. “The love Song,” “The Fight Song,” and “Disposable Teens” are all the most easily consumed and straightforward Rock songs on the album. They’ve got a driving, darkly uplifting aura to them like a call to arms for disenfranchised misfits. Not my favorite songs on the album, but they do a great job opening things up.

It gets a lot more interesting in the next chapter. “Target Audience” is darker, gloomier, and heavier, and title track “In the Shadow of the Valley of Death” is plainly one of the most depressing songs I’ve ever heard, and remains among my top 5 Manson songs of all time. Perfect atmosphere and emotion on that track. The following two tracks in the second chapter explore a more weird and artsy direction for the album.

The third chapter is my favorite. It’s got the anthemic “The Nobodies,” the beautifully sad “Lamb of God,” and the most aggressive track on the album “Burning Flag.” This chapter is the most consistent with zero filler, all the tracks are memorable, unique, and full of passion. The fourth and final chapter contains the magnificent “Coma Black,” a sequel (or prequel actually) to Mechanical Animals closer “Coma White.” The album concludes in a trilogy of shorter simpler tracks that aren’t as memorable at first, but over the years I’ve come to really enjoy how they flow together and snuff out the burning fire of Holy Wood.

Definitely one of Manson’s best albums, and includes so many of the band’s all-time best songs. Also astounding that despite being 19 tracks long, there isn’t one track I would call filler or bad. A fantastic concept album full of individual tracks easily enjoyed all on their own.