(Nothing/Interscope)

It's all too tempting to bash Marilyn Manson and his band solely for their dated Goth-posing and irritating theatrics. And while these qualities are as conspicuous as ever in Holy Wood (the final stage of the Antichrist Superstar/Mechanical Animals triptych), the quality of the music mostly compensates for its unabashed gloom. Despite its tired references to death, hell and maggots, "In the Shadow of the Valley of Death" is a haunting and effective acoustic number, and dirge-like opener "Godeatgod" shows surprising restraint. It's obvious that great care was taken in constructing the songs on Holy Wood; guitars chugging over suggestive ambience often peel away to reveal acoustic strumming, fragile piano and yes, pulsing synths. Manson could be accused of borrowing a little too much from Trent Reznor, but at least the formula works.

After repeated listenings, however, it becomes apparent that while an undeniably solid album, Holy Wood is far too reminiscent of Antichrist Superstar. This is especially obvious in the syncopated, headbanger beat of current single "Disposable Teens," a near mirror-image of "The Beautiful People." Rather than reinvent his band a third time, Manson has instead chosen to tweak and polish that former album's brand of Gothic-flavored industrial riffage. Holy Wood's ultimate downfall is its refusal to take risks; as such, it's an anticlimactic conclusion to an interesting cycle. B- -Ryan Kuo

Everclear

Songs From an American Movie Vol. 2: Good Time for a Bad Attitude (Capitol)