Name	The High End of Low
Type	studio
Artist	Marilyn Manson
Cover	Marilyn Manson - The High End of Low cover.jpg
Released	May 20, 2009(see release dates below)
Recorded	March 2008–January 2009 Sage & Sound Recording(Hollywood, California)
Genre	Alternative rock, alternative metal
Length	72:12
Label	Interscope
Producer	Sean Beavan, Marilyn Manson, Chris Vrenna, Jeordie White
Last album	Eat Me, Drink Me(2007)
This album	The High End of Low(2009)
Next album	Marilyn Manson's eighth studio album(2011)
Misc

The High End of Low is the seventh full-length studio album by American rock band Marilyn Manson. Sean Beavan, who mixed Antichrist Superstar, Mechanical Animals, and Eat Me, Drink Me, is co-producer of the album along with Chris Vrenna. On January 2, 2009, Manson finalized the album's title, and approximately a month later, on February 2, 2009 the record was revealed through Rolling Stone's online Smoking Section to be called The High End of Low. Also in the same news piece, Manson revealed that a music video would be produced for the nine-minute "I Want to Kill You Like They Do in the Movies". Rudy Coby confirmed via his Facebook page that the single had been switched to "Arma-goddamn-motherfuckin-geddon" at the insistence of Marilyn Manson's label, Interscope Records.

The album was originally scheduled for release in October 2008, although due to touring commitments this date was pushed back to winter 2008, before a slating of May 2009, which turned out correct. Initially, Manson also intended to release a song from the album before the end of 2008, however these plans did not materialize. The album was released on May 25, 2009 in the United Kingdom and May 26, 2009 in the United States. The album's first radio single, "Arma-Goddamn-Motherfuckin-Geddon," was released on May 18, 2009. Critical response to the album was mixed, with some reviews criticizing the repetitiveness of the music and lackluster ideas, while others praised a more human Manson following his divorce, and a return to the sound of the well-received Mechanical Animals.

Many themes permeate "The High End of Low", mostly ones of violence like in the songs "Arma-goddamn-motherfuckin-geddon", "Pretty as a Swastika", "Blank and White", "I Want to Kill You Like They Do in the Movies"; pain: "Leave a Scar" and "Unkillable Monster"; politics in "We're from America"; love and other destructive emotions like in the songs "Devour" and "Running to the Edge of the World"; death in "Four Rusted Horses" and "I Have to Look Up Just to See Hell"; and self-realization/rebirth: "Into the Fire". The logo for The High End of Low appears to be based on the English logo for The Criterion Collection edition of the 1963 Akira Kurosawa film Tengoku to jigoku, which translates to 'Heaven and Hell', a lyrical theme in "Four Rusted Horses". The album debuted at № 4 on the Billboard 200, falling to № 24 and № 60 in its second and third weeks. The album has sold over 142,000 copies to date in the US.

Development and production

Initially, Manson revealed the recording session's for the band's seventh album would take place between March and May 2008, that two Eat Me, Drink Me b-sides may be included, and that he would again be working with Tim Skold, as well as Slayer's Kerry King and the Yeah Yeah Yeahs' Nick Zinner on the album; a demo of one song was also recorded during the tour (the song did not make the album's final cut), with Manson filling notebooks ideas for other potential lyrics and tracks. Also rumoured was a collaboration with James Iha, although this was never officially confirmed.

In December 2007 Tim Skold had departed from the band, due to the return of former bassist Twiggy Ramirez, who re-christened himself "Twiggy", dropping the serial killer surname. The reunion was announced in January 2008. Coincident with the announcement, Manson gave an exclusive interview to the now defunct fansite "The Heirophant", in which he revealed plans to record an album with Twiggy and Vrenna after the Rape of the World Tour ended.

In a February 2008 interview with Steppin' Out, Manson described the new album as, "very ruthless, very heavy, and very violent."

On October 19, 2008, Manson and Twiggy announced at the 2008 Scream Awards after party that the album would "sound more like Antichrist Superstar" and that the recording sessions are "pretty much done." It was also revealed that live guitarist Wes Borland would remain with the band while they toured in support of the record, something which did not materialize. In an interview with Spinner.com released the following day, Manson put forth an explanation of Twiggy's experience working on the album: "This record is the record we always wanted to make and [Twiggy] is writing from a point of view that I've always written from lyrically. I don't think earlier on he had the opportunity to be damaged, and his soul to be trampled on by women as much as me. So now that his penis has been cut off metaphorically, and been smashed into fucking Sloppy Joe's, someone shit on his heart a thousand times, we tried to put a musical face to that." A statement by Manson that the band were considering releasing a song before the end of the year implied that the album was unlikely to be released in winter 2008, contrary to Manson's announcement in May of that year.

In December 2008, Manson revealed the sonic qualities of three tracks. One was said to feature "a coven of witchy girls," the other "acoustic swampiness that harkens back to when [he] was living in New Orleans", and the song Manson plays guitar on also features him "snorting something, whatever it might have been" as a percussive instrument. On March 10, 2009, a blog entry by producer Sean Beavan confirmed two additional titles, "15" and the rumored "Four Rusted Horses".

In a March interview with Kerrang!, Manson revealed that The High End of Low contains 15 songs, "15" being its closing track. He also claimed that the fourteenth track "Into The Fire"" is a "glorious epic" which Twiggy would be most memorable for as a guitarist. Manson also explained that the songs on the album are listed by the order they were written and recorded. He also revealed the title of another song, "We're from America", which was made available for free download through the band's website on March 27, 2009. The same month, five rough mixes of songs from the album were leaked to the Internet. Chris Vrenna has commented on the leaks, explaining that "I hate stealing of music in any form. If a band chooses to put tracks online, that is great. [...] But, downloading unauthorized music is that same as walking into your local CD store and shoplifting the disc! I think true fans know that usually songs found online before the record's release are either rough mixes of tracks and will wait to hear the music in the way the artist intended."

On March 27, 2009, Metal Hammer released a blog describing two songs from The High End of Low, "Arma-goddamn-motherfuckin-geddon" and the previously unverified track "The Wow" (actually titled "WOW"). Later on April 7, 2009, Metal Hammer confirmed the titles of three new songs, "Blank and White", "Running to the Edge of the World" and "White Spider" (actually titled "Wight Spider"). The report also confirmed the leaked song "maybeharmfulifswallowed" has since been retitled "Leave a Scar".

On April 16, 2009, Marilynmanson.com was updated to include the track listing for The High End of Low, thus revealing three previously unreleased song titles: "Pretty as a Swastika", "Unkillable Monster" and "I Have to Look Up Just to See Hell". A splash page was also added to the website, depicting Manson holding a bundle of fluorescent lights against his head.

Concept and artwork

Many themes permeate "The High End of Low", mostly ones of violence like in the songs "Arma-goddamn-motherfuckin-geddon", "Pretty as a Swastika", "Blank and White", "I Want to Kill You Like They Do in the Movies"; pain: "Leave a Scar" and "Unkillable Monster"; politics in "We're from America"; love and other destructive emotions like in the songs "Devour" and "Running to the Edge of the World"; death in "Four Rusted Horses" and "I Have to Look Up Just to See Hell"; and self-realization/rebirth: "Into the Fire". The album is ultimately a closing of previous ideas, morals and the past. Manson has stated the whole album is influenced by film, particularly the track "I Want To Kill You Like They Do In The Movies". The High End of Low runs rampant with references to the number 15, a first since 1998's Mechanical Animals. These references include the album having 15 songs, the last of which is titled "15", the number 15 spanning across the MM logo on the back of the "We're from America" single, the fact there are 15 letters in the album's title, and that The High End of Low would be released roughly 15 years after the band's major label debut, Portrait of an American Family. Noted in an interview, Manson said he has been long obsessed with the number fifteen as it is the number of the devil in the tarot card deck.

The cover art for the album portrayed the face of Manson with red laser lights in his head, standing still looking at the camera next to a red-toned background. The back of the cover features a photo of Manson with a hat, with the track listing featured on the left side. The front cover was shot by Delaney Bishop and the back cover by Mike Riley. The inside photos were shot by Mike Riley and all Polaroids by Manson and Evan Rachel Wood.

The logo for The High End of Low appears to be based on the English logo for The Criterion Edition of the 1963 Akira Kurosawa film Tengoku to jigoku, which translates to 'Heaven and Hell', a lyrical theme in "Four Rusted Horses". As its title would suggest, "Arma-Goddamn-Motherfuckin-Geddon" contains numerous parallels to Biblical iconography. These themes, among others, pervade the song and video for the single, exploring the innate fascism of money, censorship and sensationalism of American culture. It is one of the most indicting tracks on the record with the single's video and imagery acting as a prelude to the new era's ethos. The '$' symbol with the video acts additionally as a veiled reference to Salvador Dalí, stemming from a pointed attack formulated on Breton's belief that Dalí had abandoned his artistic integrity and surrealist roots in the pursuit of fame and wealth. Furthermore, (and much like Manson) Dalí was met with accusations of being a Nazi sympathizer who held militaristic and fascist ideologies, due to his unashamed and open fascination with fascism.

The High End of Low is the first studio album by Marilyn Manson since their major label debut, Portrait of an American Family, not to feature a conventional title track. However the song "I Have to Look Up Just to See Hell" is essentially the album's title track, as "The High End of Low" is a recurring lyric in the song. Worth noting is the EP Smells Like Children, which also did not have a title track, however the title of this release was lifted from an unrecorded song of the same name.

Composition

There are various lyrical references and evocations within "The High End of Low". Film influences are a common thread, with the album being Manson's most celluloid-inspired record to date, as reflected within the album artwork and film reel disc itself. The lyrics however mark a vitriolic return to scathing diatribes against wanton American blindness and occult themes which have not as prominently been explored since Holy Wood (In the Shadow of the Valley of Death) and Antichrist Superstar.

One of the most enthralling tracks on "The High End of Low" simultaneously serves as one of the most laden with multi-faceted imagery. Prior to the album release it was erroneously referred to as "White Spider"; however, the difference of just a few letters largely sets the tone for the rest of the piece. Fans of fantasy and etymology may already be aware of the significance. A "wight" is an archaic terminology that originally derived from Old English "wiht", and its meaning was a creature or otherwise living thing. Through centuries of poetry and fantasy it managed to acquire its more recognizable meaning, which stands at odds with its original definition. The wight is a form of a supernatural entity, somewhat comparable to that of a wraith-like, ghostly figure. They’re akin to that of a shadowy remnant, ultimately being a poor reflection of their former self. As wights are continually trapped in an existence of nonexistence, it is unsurprising that they were portrayed as aggressive, and violently filled with bile and hatred.

The seventh track from "The High End of Low", entitled "Running to the Edge of the World", contains a lyric which first arose publicly during the lead up to the abandoned Celebritarian era: "I don't seek death, I seek destruction, Until death we seek destruction, We don’t seek death, we seek destruction, Until death we seek destruction". Similarly, the lyric "United as one against all others" is a notable parallel to what is said by Manson and Evan Rachel Wood in the "Heart-Shaped Glasses (When the Heart Guides the Hand)" music video before plummeting their vehicle off the side of the cliff. The title of the song itself may be a reference to the 1937 Michael Powell film, The Edge of the World. The twelfth track off of "The High End of Low", "We're From America", opens with the lyrics "We’re from America/We’re from America/Where we eat our young." Apart from the analogy's condemnation of the way children are reared, exploited and ultimately destroyed, it is also a reference to a piece of artwork by Franciso de Goya entitled 'Saturn Devouring His Children'. The painting itself can be seen during the final scene of "The Nobodies" music video. The painting and Manson's usage of it are largely tied to a series of alchemical concepts which played an integral role throughout Holy Wood, and the perpetual evolution of Marilyn Manson. "Unkillable Monster" contains an open reference to a film by Luis Buñuel in the lyrics: "Sometimes I dream I'm an exterminating angel, A travelling executioner from heaven".

"Blank and White" is about censorship and about the day that the New York Times said "God is dead" and that the suffragettes protested. One particular line in the song, "all you fuckers vote beep beep beep" may be a sarcastic political indictment of the "voters" that seek to effect change through such ineffectual and complacent means as holding pickets up along city streets. As Manson mentioned in the same Shockhound interview, the fact that this very line is echoed in the long censoring "beep" replacing "[shoot the] president of whatever" made him quite happy artistically. The second track of the album is called "Pretty as a Swastika". "It's something I said to a girl because of her complexion, with black hair, red lips and pale skin. I mean, it was a complex and poetic comment that soon led to intercourse, so I felt no reason for it to be seen as confusing, hateful and destructive. The record label [told Manson to], take it off the album. Rather than do so, I decided to produce it on the inside of the sleeve with a different name, so it'll be sold in Wal-Mart or wherever stores sell guns but are afraid to deal with lyrics. So, I put "Pretty as a ($)" because all of their motivations are based on money."

Release

Album

The album was originally scheduled for release in October 2008, although due to touring commitments this date was pushed back to winter 2008, before a slating of May 2009, which turned out correct. Initially, Manson also intended to release a song from the album before the end of 2008, however these plans did not materialize. The album was released in two physical formats. The standard jewel case CD release contained a booklet. On April 27, the track listing for the deluxe edition of the album's bonus disc surfaced on HMV's website, revealing that the disc would contain up to seven remixes. The limited edition CD featured 6 bonus tracks with alternate versions of four songs and a remixes of the single "Arma-goddamn-motherfuckin-geddon". The standard edition also featured two bonus tracks.

Music videos

On April 3, Polydor Records alluded to the previously unconfirmed music video for "Arma-goddamn-motherfuckin-geddon", saying it would be available no earlier than April 17. On April 6, behind-the-scenes video clips and photos of the song's music video, directed by Delaney Bishop between April 4 and 5, 2009, surfaced, which showed that the video would may be somewhat parody the visual themes of Antichrist Superstar and The Golden Age of Grotesque. UK television station Channel 4 announced that they would premier the music video during the early hours of April 18, however this did not occur and the station later explained that "due to unforeseen circumstances, the video was not delivered to Channel 4 in time to screen it." They also reported that because other stations had been screening it, Channel 4 did not plan to air it in the future; curiously, this explanation is false. Universal Music later reported that the music video was expected to premier around May 5, however this date was not met either. On May 14 however, the music video, in which Manson and bassist Twiggy, Chris Vrenna and Ginger Fish appear, debuted on NME.com in censored form, before appearing on the band's official website in uncensored form hours later. In August 2009, the "Director's Cut" version appeared on Delaney Bishop's blog. Delaney Bishop, the director for the video, later released an excerpt of the director's cut of the video through his website and can be viewed on YouTube. The excerpt is the entire second verse and is composed of footage almost entirely different from the original.

On September 10 and 11 Manson posted three photos on his Myspace of stills from the video of "Running To The Edge Of The World". The first two stills were uploaded to his "video stills from the future" photo album. The third was released the next day in his "My Mobile Photos" photo album. On November 4 at 6:19PM EST, the video was uploaded to the official website. It had briefly been up under the title "test1" two days prior, but only for a few hours. The video was directed by Manson and Nathan "Karma" Cox, who also directed the video for "Personal Jesus". It opens with Manson, dressed in a white shirt singing the song to a camera while partially concealing himself with a curtain. As the bridge and outro of the song play, he beats a woman to death, speculated to represent Evan Rachel Wood, played by Kelly Polk.

Singles

"We're from America" was released as the a promo single of the album. Kerrang!'s article erroneously states that the song was released during the second week of March 2009; however, this did not actually happen until March 27, when it was released for free as an MP3 on Marilynmanson.com, accompanied by a new layout for the website. The song was reissued as a digital single on April 7, 2009, and is currently available on iTunes and Amazon.

"Arma-Goddamn-Motherfuckin-Geddon" was the first official single released by Marilyn Manson from the album. It has a remix by the Teddybears. The song was released for download on May 5, 2009, along with the pre-order of The High End of Low.

"Running to the Edge of The World" was the second official single released by Marilyn Manson from the album. An alternate version of the song was included in the album's bonus CD. The song was released for download on November 4, 2009, and a music video was produced for the song. Although not released as a single, "Four Rusted Horses" was featured in the launch trailer and in promos to the 2011 videogame, F.E.A.R. 3.

Promotion

On January 2, 2009, Manson finalized the album's title, and approximately a month later, on February 2, 2009 the record was revealed through Rolling Stone's online Smoking Section to be called The High End of Low. Also in the same news piece, Manson revealed that a music video would be produced for the nine-minute "I Want to Kill You Like They Do in the Movies". Rudy Coby confirmed via his Facebook page that the single had been switched to "Arma-goddamn-motherfuckin-geddon" at the insistence of Marilyn Manson's label, Interscope Records.

Promoting The High End of Low was a free download of the song "We're from America". This was followed by the song's reissue as a digital single on April 7, and its limited release as a physical single on April 14. The album's first conventional single, "Arma-goddamn-motherfuckin-geddon", entered airplay on April 13, and would be released in CD format on May 15 in Germany and on May 18 in the United Kingdom. The song's music video, filmed between April 4 and 5, failed to meet two expected release dates, before premiering on the NME website in censored form, and hours later on the band's official website in uncensored form. Also in promotion of the album, The High End of Low was made available for streaming on Marilyn Manson's MySpace profile before its worldwide release, and on May 28, Hot Topic hosted clips from the album on its website's homepage.

On May 7, 2009, an official minisite for The High End of Low went online. Along with a new promotional photo, the site provides partial lyrics to "Arma-goddamn-motherfuckin-geddon", links to pre-order both the album and the "Arma-goddamn-motherfuckin-geddon" CD single, a mailing list and a Facebook application that features lyrics and samples to songs from the album. The order songs also to feature on this application were as follows: beginning May 7, "Devour", "We're from America" and "Arma-goddamn-motherfuckin-geddon"; these were replaced on May 15 by "Four Rusted Horses", "Leave a Scar" and "Pretty as a Swastika"; these were replaced on May 22 by "Into the Fire", "WOW" and "Blank and White"; than, these were replaced on May 29 by "I Want to Kill You Like They Do in the Movies", "Unkillable Monster" and "Running to the Edge of the World"; and finally, these were replaced on June 5 by "I Have to Look Up Just to See Hell", "15" and "Wight Spider", after which the fate of the application is unknown. On May 8, 2009, an e-mail sent through the site's mailing list confirmed that each week leading up to the album's release, a song will be accessible through phones by texting MANSON to 909090, the first of which being "Wight Spider".

Reception

Critical reception

Upon the its release, the album met with mixed reviews. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score 58, based on 14 reviews, which indicates "generally mixed or average reviews". Some critics felt it sounded diluted and repetitive while others praised the album for showing "Manson's more human face after his divorce and best material since Mechanical Animals". Allison Stewart from The Washington Post gave the album a positive review, saying that "Manson's divorce from burlesque dancer Dita Von Teese had led to a new musical high." Spin writer Doug Brod gave a positive review and stated that "[w]hile it's still easy to dismiss his shock tactics as puerile and insensitive he hasn't sounded this vital—and tuneful—since Mechanical Animals." The BBC review stated that the new album saw Manson resurrected after the lackluster Eat Me, Drink Me, with credit given to the skilled bass work on the album. The review sums up the album by saying that it "proves there's still a fair dose of blood and bile to pour from his carcass yet. More impressively, at its best it provides a pointed satirical commentary on noughties America." "We're From America" was cited as the strongest track on the new album. Planet Sound gave the album a positive review, citing it as his best work since Mechanical Animals and that Manson has his "preening confidence back. It results in strutting glam and magnificently OTT ballads, with Manson engaged with sounding alien again." Los Angeles Times reviewer Mikael Wood stated that the band even provide a "surprise or two, as in 'Running to the Edge of the World,' a lush acoustic power ballad complete with pretty falsetto vocals." Wood also states that "'High End' makes a deeper impression as a result of Manson’s reunion with longtime guitarist-bassist Twiggy Ramirez; together with producers Sean Beavan and Chris Vrenna, they sculpted a sound both harder-hitting and more finely detailed than on any previous Marilyn Manson record." Rolling Stone reviewer Jody Rosen gave the album a mediocre review, citing the diminished shock value of the album compared to years past. Rosen stated the best parts of the album are in the ballads like the blues-tinged "Four Rusted Horses" for a more endearing depiction of Manson as a melancholy human rather than Antichrist Superstar. Phil Freeman of allmusic criticized the lack of variety in the album with "two or three musical ideas are repeated throughout the disc". He also criticized the lyrics, stating that Manson "[feels] like he's trying to convince himself as much as the audience" and that he is "pretty much advertising that [he's] out of ideas". A review in The Guardian complained of the lack of novelty in the album, which repeated "the usual entry-level shock-rock histrionics".

Commercial performance

The album debuted at № 4 on Billboard 200 with 49,000 copies sold. Despite reaching a higher charting position than Manson's last studio effort, Eat Me, Drink Me, which debuted at № 8, it arrived with the lowest opening week sum of any of Manson's albums since The Last Tour on Earth began with 26,000 in 1999. Since its debut the album dropped steadily, falling to the № 24 position in its second week and № 60 in its third.

The High End of Low Tour

To support the release of The High End of Low, Marilyn Manson staged a worldwide stadium tour, titled The High End of Low Tour. It is the band's twelfth tour and it is also the band's eighth tour to span over multiple legs. The tour spanned from June 3, 2009 until December 21, 2009. The only known tour date of the tour's seventh leg in 2010 has been cancelled, and during the last show in France Manson announced that there would be no further tour dates in 2010.

In the vein of the album themes and imagery revolving around Manson's conception of life as a movie, the live counterpart of "The High End of Low" reflects this theatricality by simulating each song in the live tour as a different "act". Replete with movie stage-sound lights illuminating Manson onstage, the veil of "backstage"/"onstage" has been lifted to portray this cinematic effect; Manson reapplies his makeup front-and-center onstage, stagehands assist with wardrobe changes in full view of the audience, and the final illustration of this concept is that prior to each song's commencement afterwards, a stagehand emerges and signifies that each new act has begun by use of a clapperboard in front of Manson, as if to convey the filmic mantra of "lights, camera, action" and the song begins.

A new theatric stage was revealed within the first European leg of "The High End Of Low Tour". During "Great Big White World" Manson performed within a white lightbox in reflection of the "whited out" Hollywood hollowness and isolation lyricized within the song. The entirety of the song was sung behind the semi-transparent sheet, removed from the audience. "If I Was Your Vampire", which also deals with a similar lovelorn isolation, was alternately performed with this theatrical device on early dates of the tour.

Track listing

{{tracklist | all_lyrics = Marilyn Manson | all_music = Twiggy Ramirez and Chris Vrenna, except "Wight Spider" by Manson, Ramirez and Vrenna | music_credits = yes | total_length = 72:12 | title1 = Devour | music1 = Ramirez, Vrenna | length1 = 3:46 | title2 = Pretty as a Swastika | music2 = Ramirez, Vrenna | length2 = 2:45 | title3 = Leave a Scar | music3 = Ramirez, Vrenna | length3 = 3:55 | title4 = Four Rusted Horses | music4 = Ramirez, Vrenna | length4 = 5:00 | title5 = Arma-Goddamn-Motherfuckin-Geddon | music5 = Ramirez, Vrenna | length5 = 3:39 | title6 = Blank and White | music6 = Ramirez, Vrenna | length6 = 4:27 | title7 = Running to the Edge of the World | music7 = Ramirez, Vrenna | length7 = 6:26 | title8 = I Want to Kill You Like They Do in the Movies | music8 = Ramirez, Vrenna | length8 = 9:02 | title9 = WOW | music9 = Ramirez, Vrenna | length9 = 4:55 | title10 = Wight Spider | music10 = Ramirez, Vrenna, Manson | length10 = 5:33 | title11 = Unkillable Monster | music11 = Ramirez, Vrenna | length11 = 3:44 | title12 = We're from America | music12 = Ramirez, Vrenna | length12 = 5:04 | title13 = I Have to Look Up Just to See Hell | music13 = Ramirez, Vrenna | length13 = 4:12 | title14 = Into the Fire | music14 = Ramirez, Vrenna | length14 = 5:15 | title15 = 15 | music15 = Ramirez, Vrenna | length15 = 4:21 }} Standard edition bonus tracks

"Pretty as a Swastika" (Alternate Version) [Independent music store version] – 2:26

"Arma-Goddamn-Motherfuckin-Geddon" (Teddybears Remix) [International versions] – 3:30

Deluxe edition bonus disc

{{tracklist | total_length = 28:25 | title1 = Arma-Goddamn-Motherfuckin-Geddon | note1 = Teddy Bears Remix | length1 = 3:31 | title2 = Leave a Scar | note2 = Alternate Version | length2 = 4:02 | title3 = Running to the Edge of the World | note3 = Alternate Version | length3 = 6:08 | title4 = Wight Spider | note4 = Alternate Version | length4 = 5:28 | title5 = Four Rusted Horses | note5 = Opening Titles Version | length5 = 5:02 | title6 = I Have to Look Up Just to See Hell | note6 = Alternate Version | length6 = 4:07 }} Deluxe edition bonus tracks

"Fifteen" (Alternate Version) [iTunes bonus track] – 4:17

"Into The Fire" (Alternate Version) [iTunes pre-order & Japanese versions] – 4:34

"Arma-goddamn-motherfuckin-geddon" (Alternate Version) [Hot Topic deluxe edition] – 3:39

Charts, sales and certifications

Album charts

{|class="wikitable sortable" |- ! style="text-align:left; width:210px;"|Charts (2009) !align="left"|Peakposition |- |align="left"|Australia (ARIA) | style="text-align:center;"|11 |- |align="left"|Austria (Ö3) | style="text-align:center;"|6 |- |align="left"|Belgium (Flanders) (Ultratop 50) | style="text-align:center;"|38 |- |align="left"|Belgium (Wallonia) (Ultratop) | style="text-align:center;"|16 |- |align="left"|Canada (CANOE) | style="text-align:center;"|4 |- |align="left"|Czech Republic (IFPI) | style="text-align:center;"|13 |- |align="left"|Denmark (Tracklisten) | style="text-align:center;"|32 |- |align="left"|Europe (Billboard) | style="text-align:center;"|6 |- |align="left"|Finland (Mitä Hitti) | style="text-align:center;"|9 |- |align="left"|France (SNEP) | style="text-align:center;"|9 |- |align="left"|Germany (Media Control) | style="text-align:center;"|11 |- |align="left"|Hungary (Mahasz) | style="text-align:center;"|17 |- |align="left"|Ireland (IRMA) | style="text-align:center;"|47 |- |align="left"|Italy (FIMI) | style="text-align:center;"|18 |- |align="left"|Japan (Oricon) | style="text-align:center;"|9 |- |align="left"|Mexico (AMPROFON) | style="text-align:center;"|34 |- |align="left"|Netherlands (MegaCharts) | style="text-align:center;"|73 |- |align="left"|Norway (VG-Lista) | style="text-align:center;"|26 |- |align="left"|New Zealand (RIANZ) | style="text-align:center;"|8 |- |align="left"|Poland (ZPAV) | style="text-align:center;"|31 |- |align="left"|Portugal (AFP) | style="text-align:center;"|22 |- |align="left"|Spain (PROMUSICAE) | style="text-align:center;"|9 |- |align="left"|Sweden (Sverigetopplistan) | style="text-align:center;"|15 |- |align="left"|Switzerland (Hitparade) | style="text-align:center;"|6 |- |align="left"|United Kingdom (OCC) | style="text-align:center;"|19 |- |align="left"|U.S. Billboard 200 | style="text-align:center;"|4 |}

Total sales

! Country	! Sales
United States	137,000

First week sales

! Country	! Sales
Japan	10,583
United Kingdom	7,746

A Total U.S. album sales as of November 2010.

Release history

{|class="wikitable" |- ! Region ! Date ! Label ! Format ! Catalog |- | Japan | May 20, 2009 | Universal International | Compact disc, deluxe edition | style="text-align:center;"| UICS9107 |- | Australia | rowspan="2"| May 22, 2009 | Interscope Records | Compact disc, deluxe edition | style="text-align:center;"| 2706388 |- | Germany | Polydor Records | Compact disc | style="text-align:center;"| 0-602527-061825 |- | France | rowspan="3"| May 18, 2009 | Polydor Records | Compact disc | style="text-align:center;"| 0-602527-061825 |- | New Zealand | Interscope Records | Compact disc, deluxe edition | style="text-align:center;"| — |- | United Kingdom | Interscope Records | Compact disc, deluxe edition | style="text-align:center;"| 2706182 |- | Korea | rowspan="4"| May 26, 2009 | Universal International | Compact disc, deluxe edition | style="text-align:center;"| — |- | North America | Interscope Records | Compact disc, deluxe edition | style="text-align:center;"| B0013017-72 |- | Brazil | Universal International | Compact disc | style="text-align:center;"| — |- | Hungary | Universal International | Compact disc, deluxe edition | style="text-align:center;"| — |}

Credits and personnel

;Marilyn Manson

Marilyn Manson – vocals, percussion, guitars, production, photography, art direction, design

Twiggy – guitars, bass, keyboards, production

Chris Vrenna – keyboards, programming, production, composer, engineering, mixing

Ginger Fish – piano on "Into the Fire"

;Production

Sean Beavan – production, mixing, engineering

Ted Jensen – mastering

Delaney Bishop – photography

Mike Riley – photography, assistant

Tony Ciulla – management

David Weise – business management

Jacob Jackel – business management

Martin Kierszenbaum – A&R;

Liam Ward – art direction, design

Jeff Witters – cover layout

Rock Roskin – booking agent

Emma Banks – booking agent

Chris Dalston – booking agent

Michelle Jubetirer – legal

Justin Hergett – assistant

Wesley Michener – assistant

Jeremy Underwood – assistant

Pete Doell – mastering (bonus alternate versions)

Jim Åhland – additional vocals (Teddy Bears remix of Arma-goddamn-motherfuckin-geddon")

Rob Crawford – additional vocals (Teddy Bears remix of Arma-goddamn-motherfuckin-geddon")

Rob Orton – mixing (Teddy Bears remix of Arma-goddamn-motherfuckin-geddon")

References

External links

Official UK album website

Category:2009 albums Category:Albums produced by Chris Vrenna Category:Albums produced by Sean Beavan Category:Interscope Records albums Category:Marilyn Manson albums