THE latest from America's favourite shock rock icon may bill itself as being inspired by the decadence of 1930s Berlin, but it's business as usual for Mr Manson and chums.

Though the music-hall-nightmare title track suggests an intriguing image of Manson as the sinister Master of Ceremonies from the musical Cabaret, he has his eyes on more recent decades.

As ever, he draws his musical formula from the rhythms of Seventies glam rock, the moody Eighties synths of Depeche Mode and Gary Numan, and the angst, alienation and exceedingly heavy guitars of Nineties American metal.

With excellent production work by Manson and new bass player Tim Skold, this is just another Marilyn Manson record, full of venomous, hi-tech rock anthems with raging, air-punching choruses, custom-built to fit into his extravagant stage show.

Though it kicks off well with This Is The New S***t, after any number of variations on the same theme, it becomes clear Manson has absolutely nothing new to say.

At least right-wing America's other pop star bogeyman, Eminem, is a master lyricist - the only thing shocking about Manson is the bad puns in his song titles. Oh, and how blatant the rip-off of Faith No More's Be Aggressive is in single Mobscene.

Ironically, arguably the most powerful artistic statement Manson has ever made about the hypocrisy of modern America was his intelligent and articulate appearance in Michael Moore's documentary Bowling For Columbine. This record won't disappoint the fans, but the formula is getting seriously tired.

Updated: 09:24 Thursday, May 22, 2003