Many people, on Sputnik and elsewhere, dislike Marylin Manson. If you were to ask these people the reason behind their contempt, I’m sure his or her replies would be that they don't like Manson's image, persona, stage show, lyrics, or his overly-boring shock tactics. My own personal reasons encompass those previously stated, but they include another, seldom-heard reason, and it is centered around John Lowery, also known as John 5.
My contempt's main impetus is that Marylin Manson held John back talent-wise. From 1998 through 2003, the public's only exposure to John was through simple power-chord riffs in various Manson tunes, most of which sounded extremely similar. Some would go so far as to pigeonhole him as a crap guitarist. However, all of these conceptions were shot down upon the release of John's 2004 debut
Vertigo. Listeners quickly found that this man was in fact an immensely talented individual who was able to conform his talents to many different genres of music, from nu-metal to bluegrass. This exposure was expanded upon in John 5's 2005 release
Songs for Sanity.
John's skills are really on display on this record. Far from those simple-riff days of Manson, the shredding on this album is fantastic. Unlike most solo records, this is not an hour-long wankfest. The speed on this album is fantastic and impressive, but it is fortunately not singular. Crunching rhythms such as the one included in the opening track, 'Damaged,' may seem to some as a callback to Manson tunes, but they compliment the song perfectly.
One of the best showcases of John 5's talents is the country-laden song 'Gein With Envy.' The feel of this song is very, very Southern. The overdriven guitar weaves with dizzying speed in and out as John lays on the wah-wah to create an almost patriotic vibe. The guitar tone is beautiful, crunchy yet subdued and simply perfect. One can tell that his influences could include ZZ Top or Lynyrd Skynyrd. The strutting, almost chainsaw-like riffs featured on 'Blues Balls' crush the soul as intensely quick lead lines taunt the dismantled spirit without relent. The industrial groove of 'Behind the Nut Love' reveals another unusual side of John: his techniques. All of the bends in the this song were done behind the nut of the guitar, the part of the guitar where the headstock and the neck join together, and where the strings are guided to the tuners.
An unusual element, the use of samples is heavy on
Songs for Sanity. From the sounds of a man entering and operating a vehicle on 'Sin' to the ambient passages that usher in the final track, 'De'nouement,' these inclusions add a wonderful atmosphere to this record. Another facet that adds greatly to the album is the meshing of different genres within individual tracks. One would not expect the acoustic balladry of 'Soul of a Robot' to be even considered to be featured on the same album as the 80s barroom swagger of 'Fiddler's.' Worlds apart are the bluegrass-tinted 'Gods and Monsters' and the modern rock of 'Death Valley' yet they are separated by one track.
Not
everything on this album is astonishing. The track '2 Die 4' begins with some melodic lead lines and an intense wall of sound, but quickly denigrates into a something that is all to similar to a Marylin Manson track. It's really not something I want to hear. Although it is a good track, it just feels too same-y. As well, some tracks sound a little too alike at moments. It could be a positive if that is what the listener wants, but I feel like John is limiting himself in that respect.
All in all, John 5's sophomore effort is an excellent addition to a growing body of solo work. The talent portrayed on every track is excellent. Speed and technique, as well as the wide array of genre influences present here is not only surprising but also refreshing and just another reason to enjoy the album. It has its flaws, but they are few and far between. As evidenced with other artists as well as this one, sometimes a schism can yield amazing results.
THE GOOD:
'Gein With Envy,' 'Behind the Nut Love,' 'Soul of a Robot'
Fantastic talent on John's part.
The genres represented here are diverse and work extremely well for being applied into song by one man.
THE BAD:
'2 Die 4'
Some riffs and songs sound too much alike.
THE RATING:
4/5
