Marilyn Manson maintains the momentum of the current era of his career with this 13th album, One Assassination Under God Chapter 2 (Nuclear Blast Records). This is his fourth album that Tyler Bates has produced, and much like the first three, it finds a balance of brooding melodicism and the in-your-face guitar grit and middle finger to the world attitude. It picks up where he left off on part one, though the album has a darker feel. He rocks out harder than he has in some time on “Don’t Answer the Door.” He has never been the heaviest act on the bill, but what he relents in sonic heft, he makes up for in the confrontational mood his songs create. When he does, the guitar carries more heft this time around, as heard on “Front Toward Enemy.” The bass line’s groove seals the deal.
He not only turns back the clock sonically, but his voice sounds almost as youthful as he did on Antichrist Superstar. He has more finesse in his nuanced performance. Lyrically, he seems to be sorting through his recently more publicized life. He is not stepping into the villain role of his persona with the same fervor he once did, and perhaps that came with his more recent turn to sobriety. His edges are not lost, but more practiced and refined. He also dodged a bullet, as his creativity did not wane in the same way it affected someone like the freshly sober Dave Mustaine, who felt a little lost in early sobriety.
Tim Skold, who has rejoined his touring band, lends a hand on “All the Vilest Things,” which takes you back to “Golden Age of Grotesque” vibes, also bearing many of the signature traits of the Bates years. The album’s most radio-ready chorus is the one on “None of the Suns.” This also marks a turning point for the album, as this is where it shifts into a smoother, more eighties-influenced Synthwave sound, though they have not packed their guitars up. This slightly Darkwave slickness carries over into the dancier feel on “Lucifer’s Teardrop.” Manson continues to take things down an equally dark and melodic road on “The Arsonist,” which is one of the album’s strongest lyrical moments.
“Exit Wounds” meets rather than exceeds expectations, though after repeat listens it grows on you, as he checks off all the boxes for what you might want from him. Along with some heavier riffs. “Extaniomorph” closes the album; there is a slight experimental hint with the creepy samples that open the song. It is the closest this album comes to having a ballad.
Maybe it’s the clean car smell of new songs, but this album edges out the previous one in terms of vocals and songwriting. It’s everything you might want from Marilyn Manson and should please fans both old and new, staying relevant rather than becoming a nostalgia side show.
Buy the album here:
https://mm.bfan.link/oaug-ch-2.yde
9 / 10
WIL CIFER
Follow his work here:
Follow his podcast here: