The artists Stenobot, Wheelie H. Cyberman, and Tron Juan have joined forces to create a deliciously nerdy musical journey. Supercommuter’s self named album was inspired and created by Stenobot using a Gameboy’s synthesizer for the music, Cyberman’s rhymes as lyrics, and Tron Juan’s engineering prowess.

The music is phenomenal. Discovered during my routine search for news on my favorite nerdcore artists, I hit up the myspace for Supercommuter. I found myself listening to the 4 tracks previewed at least twice before deciding, “I must have this”. Cyberman has always been among my favorite rap artists and his smooth, creative rhymes are really reinforced by the nostalgic beats of Stenobot’s Gameboy. Clarity, quality, and consistence on the album from Tron Juan really seal the deal.

The only thing better than jamming to this in my car is where the proceeds go; 100% of all profit earned from this album is being donated to Child’s Play. What are you waiting for? Go get it!

Myspace: http://www.myspace.com/supercommuter

Child’s Play: http://www.childsplaycharity.org

Nearly two years have passed since the release of Eat Me, Drink Me. In this writer’s humble opinion it was one of his greatest releases to date. Eat Me, Drink Me brought together the best of all his previous albums, mixed with the theme of a dark, twisted and fucked version of Wonderland.

Nearly two years later has Manson done it again? Has his previous album release set the bar impossibly high?

I’m glad to say no to both cases. In fact, The High End of Low turns out to be a complete reinvention of the sound that you know as typical Manson.

The opening track, Devour, makes it very evident in the first 20 seconds that this is a VERY different album. Gone is the heavy industrial sound that has made Manson the idol of lunchbox toting teens and the most misunderstood figure in music.

The High End of Low also brings about the long awaited reunion with Twiggy Ramirez, and all this reviewer has to say is, “About time!”. Their ability to compliment and drive each other to new creative lengths comes to the surface stronger than ever.

The result? Musical brilliance. Sure, some tracks ring with a sense of the familiar. “Pretty as a ($) sounds” like it could have easily fit on Antichrist Superstar. “Arma…geddon” could have fit on Golden Age of Grotesque.
However, many tracks on the album are practically acoustic, and that is by far where it shines. This is definitely a side of Manson you’ve never, ever heard. “Running To The Edge Of The World” (which is about 95% unplugged) and “Unkillable Monster” will blow the minds of Manson fans.

There’s basically something here for everyone. This album could easily gather new fans completely unfamiliar to Manson’s previous works. Long time fans of Manson’s, or those who haven’t been keeping up, should purchase and listen to this album immediately.

To conclude, The High End of Low is a work of pure music genius. Marilyn Manson is far from losing his touch, and has shown once again that there is no one out there like him. It is definitely one of Manson’s biggest ventures into unexplored territory and sound. Manson purists may find the difference to previous work a bit unsettling at first, but given time this album could grow on anybody.
Manson says of the new album, “I think my life definitely ended and began. The record sounds very final, but it’s almost optimistic – though that feels like a strange word to use. It’s a phoenix from the fire and a redemption resurrection.”

This reviewer could not put it any better. As far as I’m concerned this is easily his best work to date, and the Antichrist Superstar hasn’t lost his ability to shock and amaze.