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But Manson is such a true believer in rock & roll mythos that he's wound up embracing the cliché of the post-divorce confessional album, peppering this album with songs about "broken relationships and new love".

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On a sonic level, this is a bit of "Manson-by-numbers", but it feels as if his usual murky menace has lifted, with the music sounding clearer, less affected, and obtuse, while still retaining much of its gothic romanticism and churning heaviness.This logo, later dubbed the "heart-shaped spiral" in official online store item descriptions, was minimalistically a roughly drawn heart which spiraled at its center.Manson revealed that it was an homage to Wood for inspiring him with love and creative drive which was the impetus needed to create the album."If I had to do a record review, I'd say it's got a cannibal, consumption, obsessive, violent-sex, romance angle, but with an upbeat swing to it." Aside from the obvious Lewis Carroll and Jesus Christ references, Manson says the album's title was also inspired by the story of Armin Meiwes, who placed an ad online for a person consenting to be eaten.The Vampire, whom Manson personified during "Eat Me, Drink Me", in one regard is an inversion of the mythology of Christ.It's not a record about me crying, or songs about my woes, but I think this record will probably speak to more people in different ways, because of its total human element [...] If I had to do a record review, I’d say it's got a cannibal, consumption, obsessive, violent-sex, romance angle, but with an upbeat swing to it [...] The album's title [Eat Me, Drink Me] was also inspired by that story several years back of the German man who put out an ad that he wanted to be eaten, and the man who ate him.

Although I can't relate to the relationship those two had, I found the story very compelling in a romantic way.

After spending time around the end of the Grotesk Burlesk Tour in severe depression and contemplating his permanent departure from the music industry, Manson had a change of heart and recorded a duet of "Don't You Want Me" with Shirley Manson.

This was originally intended to support the forthcoming best-of release but was felt by both artists not to live up to their standards and has yet to see release. It was referred to by the singer as his "farewell" album; however, he insisted that it would not be the final Marilyn Manson album.

On May 31, the entire album was uploaded for streaming on Marilyn Manson's Myspace page, five days prior to its American release. I think this record shows a human side of me, shows a vulnerable side of me, which is linked to Lewis Carroll.

[...] it is like the Christ's mythology with the vampires' mythology." "Manson probably needed something to shake up his music, which started to become comfortably predictable in the wake of his popular/creative peak of Mechanical Animals, but the stab at soul-baring on Eat Me might not have been the way to do it.

If anything, Eat Me is a bit too transparent, as its clean arena rock production makes the album sound safe, a bit too close to Manson cabaret for comfort, especially when he's penning songs whose very titles feel like unwitting self-parodies such as "If I Was Your Vampire", "You and Me and the Devil Makes 3" and "They Said That Hell's Not Hot", or when he lazily spews out profanity as the chorus to "Mutilation Is the Most Sincere Form of Flattery." The most prevalent literary influence of the album and Manson's state of being is that of Lolita by Vladimir Nabokov, one of the most notorious books of the Twentieth Century.