Marilyn Manson reveals why he stopped drinking absinthe
Marilyn Manson has revealed he stopped drinking absinthe after he was hit by a giant stage prop in 2017.
The shock rocker was hospitalised after a pair of giant pistols fell on him during a show at New York’s Hammerstein Ballroom, forcing him to cancel several shows.
Manson said he avoided taking painkillers following the accident and eventually chose to quit absinthe too.
He told Zane Lowe on his Apple Music show: “I didn’t take them [painkillers]. I mean I did initially while I was in the hospital, so in the operation. But being that I had taken them in the past which increased it to recreational use I didn’t want to fall prey to that. So I just didn’t do it. I mean it hurts, but once your pain receptors in your brain, it changes the way you think all your cortisol, the dopamine, everything in your brain it changes. It wasn’t a struggle like for me where I don’t get triggered like, ‘Oh, I want to do painkillers or something like that again’.
“It’s why I stopped drinking absinthe, as well. It clouds the frontal lobe. A lot of people find it to be artistically enhancing, but it also it bends your brain a bit sometimes in a bad way. Where you are convinced that what you’re doing is really great when it’s just the drug telling you that. That’s what I realised a while back. Especially going into this record [‘We Are Chaos’]. But before that.”
Manson also said he refused help from Dave Grohl and Axl Rose. The Foo Fighters frontman used a throne to tour after he broke his leg in 2015 and later offered it to Rose after he did the same in 2016 and Manson following his accident.
He added: “I said no and I found this electric wheelchair that rose up. And I tried to make it into part of the show and it was not a fun time at all. But it doesn’t bother me now. It’s actually more of a bionic leg and it doesn’t go off at airports either, which is strange. If anyone’s heavy metal it’s my leg, it’s full heavy metal.”
NME recently awarded his new album, ‘We Are Chaos’ five stars, describing it as “The God Of Fuck’s most diverse and human work to date”.
