Review by Joe Crollard
Marilyn Manson, shock rocker and self-identified “Antichrist Superstar” of the 90’s, released his latest album, “The Pale Emperor” on Jan. 20 2015.
Known for his over-the-top stage antics, Bible tearing, Gothic rock-star image, Manson has made a mark for himself in the rock industry and is one of the most well-known performers of his era.
Although the shock has diminished over the years, at least compared to times when he was American’s favorite scapegoat, blamed for random tragedies such as the shooting at Columbine High, the edge that had him rise to the top still exists but is more subdued. Now at 46 and after two questionable releases, Manson is back with a vengeance.
“The Pale Emperor” begins down its dark and dreary path with a hard-hitting, blues inspired track called “Killing Strangers.”
Written for the Keanu Reaves film “John Wick,” Killing Strangers introduces the album to not only a new sound, but a fresh dynamic between Manson and film director/score writer Tyler Bates. The song is cinematic, grungy, brutal, and foretells everything the album is about to bring.
“Deep Six,” the first single from the album, starts with a pounding, danceable beat over laying a stream of gothic post-punk guitar. Reminiscent musically of something ACDC may have done in the 80s – Deep Six offers a refreshing and genuine rock sound. Combine that with smart lyrics, a few puns, angst, a catchy as hell chorus, a splash of Greek mythology and a bit of word play and you get a classic Manson track.
Recorded in one take, “Third Day of a Seven Day Binge” slows things down and takes a more refrained approach. Mixed with twists, turns and shifts of musical atmosphere, Manson effortlessly slurs through the song as if he’s relaying a stream of consciousness, often humming parts of the chorus and drifting through words in a way that feels completely organic.
The song fades off at its climax, as Manson screams out “Rather be your victim, than to be with you.” A brooding love/hate song that all comes to a close with a soft hum and a few final strums of a guitar.
Then comes “Mephistopheles of Los Angeles,” another clearly blues inspired track.
Manson begins with less than brilliant lyrics – “Don’t know if I can open up, I’m not a birthday present.” Yeah, something about that just comes off as cringe worthy. Moving past that, the song itself is probably the best off the album, offering a complete foot-stomping, dance floor thrashing, mosh storm of a Marilyn Manson song that could easily be his next and most successful single in years.
Next up is “Warship my Wreck,” an emotional track with some interesting vocal acrobatics and lyrics, “Slave Only Dreams to Be King,” a bluesy/industrial hybrid, and “Devil Beneath my Feet.”
Sticking closer to a more traditional Manson tone, Devil Beneath my Feet comes complete with distorted guitars, a stomping “Beautiful People” beat, angsty lyrics, and a catchy melody.
“Don’t bring your black heart to bed, when I wake up you best be gone or you better be dead.” – Manson sings, likely referencing one of his failed relationships. Top it off with a bit of blasphemy and God taunting, “Don’t need a motherfucker looking down on me / at least I know wherever I go I’ve got the devil beneath my feet.”
Then the next song, “Birds of Hell Awaiting” begins. After a moment of silence an eerie stream of sound weaves through the listener’s consciousness. A tortured scream echoes from behind the music, penetrating the momentary calm. A familiar pounding beat stomps and tromps through the song as Manson belts out painful, tortured vocals. “The Birds of Hell are Waiting / With their wings on fire / Save your feelings baby / It’s your death’s desire.”
“Cupid Carries a Gun,” originally written for Tyler Bate’s show about witches “Salem,” is the track that sparked the inspiration for “The Pale Emperor.”
“Pound me the witch drums, better pray for hell not hallelujah” Manson croons as the music takes twists and turns musically, brewing one of the most unique, bluesy, and eerie musical potions of his entire discography. Throw in a few dirty references relating sexuality to the bible — “She had those crow black eyes, starless but she fucked like a comet, laid as still as a Bible and felt like Revelations when I looked inside” — and you’ll likely to have an eargasm.
The final track before the extras (which are actually worth listening to) is the “Odds of Even.” The track is a six and a half minute rock ballad finalizing the album and putting everything to a close. “This is the house of death,” Manson sings, “even angels die in the arms of demons.” The song has a sombre, desperate feel – reflecting that in the end only one thing certain is death. Probably a reflection of his own aging image.
Overall, “The Pale Emperor” is a huge step up from his previous release, “Born Villain,” which felt more like a collection of songs rather than something new.
In earlier years a Marilyn Manson album had always felt like an “era” in terms of growth and change. Every album had a new look, a new sound, and a new theme.
After “Eat Me Drink Me,” however, Manson seemed to fall into a creative rut. This album seems to regain the magic that his previous had.
Although this is no “Antichrist Superstar,” or “Mechanical Animals,” or even “Born Villain,” it’s something completely unique in its own right. Something both Manson and non-fans could enjoy.
Marilyn Manson will be playing live on March 26 at Showbox SoDo in Seattle.