The title put the provocation on the sleeve before a note played. Marilyn Manson's second album landed on October 8, 1996 through Nothing and Interscope, and the band spent it pressing on the exact nerve the name promises: religion, celebrity and the appetite of an audience that wanted to be scandalised.

Manson produced it at Nothing Studios in New Orleans with three collaborators whose records tell you where the sound comes from. Dave Ogilvie came out of Skinny Puppy, Trent Reznor brought Nine Inch Nails and the Nothing label with him, and Sean Beavan worked alongside both camps. That industrial lineage sits closer to the middle of the album than any conventional metal inheritance, and the alternative metal tag undersells how much of the record runs on machine noise and processed texture.

The sessions went badly for everyone in them. Drug use ran through the recording and set the band against itself, and the fighting cost founding guitarist Daisy Berkowitz his place partway through; his playing appears here for the last time. Take it as a document of a group making a deliberately confrontational record while coming apart in the room where they made it.