Marilyn Manson Eat Me, Drink Me (Interscope) Apart from all the makeup and over-the-top pseudo or not-so-pseudo satanic shows, you have to wonder about a recording artist who tries to make glue sniffing sound cool. Maybe it's the voice Brian Warner affected when he became Marilyn Manson that makes it a bit corny, with a vibrato that sounds like the lid of a coffin creaking open. Ozzy Osbourne at least smiles. With Manson you're left waiting for a nudge in the ribs to let you in on the joke. But as any head-banger who knows three chords will tell you, Manson has built his career not on black mass rituals and mascara but on metal. Scrub the vocals from his latest offering and you still have a solid-state soundtrack filled with crunching guitars laid over a simple, commanding bass. Manson does lighten up on a few tracks, such as the nearly bouncy Red Carpet Grave and the 1980s-tinged Heart-Shaped Glasses. But he gets right back to the grindstone with Putting Holes in Happiness and Just a Car Crash Away, which is where Manson shines brightest - or, rather, looms darkest. Another nice touch to the album is its luxurious pace. While maintaining the ostensibly obligatory two seconds between tracks, Manson takes his time getting into the action with many tunes, starting off with simple finger-snapping on Are You the Rabbit? and letting the wind blow for half a minute before offering up Evidence. The disc available from local music retailers declares it to be a 'Special Hong Kong Edition', but never reveals exactly what it is that makes it special.