After a period during the late 2000s and early 2010s that saw the once-dangerous Marilyn Manson release a couple of very bland and pedestrian albums, one could be forgiven for giving up all hope of ever hearing anything vital from him again. For an artist that released the ground-breaking and genre-defying Antichrist Superstar, Mechanical Animals, and Holy Wood (In the Shadow of the Valley of Death) (in 1996, 1998, and 2000 respectively), Manson's star fell pretty drastically over the next decade or so. While 2003's The Golden Age of Grotesque and 2007's Eat Me, Drink Me were both enjoyable albums, neither hit the heights that came before them. One can only be dangerous and caustic for so long I suppose, but by the time 2009 rolled around and the lengthy dirge that is The High End of Low was released into the world many had stepped off the Manson train for good. The album opened with a handful of decent songs, but much of the rest of the 70-plus minute runtime felt like some of the worst examples of gothic crooning to ever be released. 2012's Born Villain was a little better, but only really by default. It was still quite dull, but at least the fat had been trimmed to allow a handful of strong tracks to actually shine a little. What had become clear by this point however was that Manson needed to branch out. Long-time collaborators such as Twiggy and Chris Vrenna were just not gelling with him anymore, and Manson needed to find someone new to work and write with if he was to re-capture his mojo. This 'someone' turned out to be TV and film score writer Tyler Bates - and the pair wrote and released two albums together during the latter half of the last decade. Both 2015's The Pale Emperor (which I reviewed here) and 2017's Heaven Upside Down (which I also reviewed here) were well-received albums, and both saw Manson sounding much more inspired than he had for quite a while. The two albums were quite similar, with the pair going for a more bluesy and organic sound than Manson had ever attempted previously, but both sounded unquestionably Manson. I had not enjoyed any of Manson's releases as much since The Golden Age of Grotesque, and I think it is fair to say that they brought a few lapsed fans back into the fold. It was a shame therefore that Manson decided not to work with Bates again on his latest release, but I believe that We Are Chaos, his eleventh studio album, continues on the good work established on the previous two. Instead of Bates, this time Manson decided to team up with country artist Shooter Jennings to write and record We Are Chaos. This might seem like an odd match-up, but Jennings is not your average country musician and he has turned his hand to both rock and metal in the past. The organic approach taken on Manson's other recent albums is maintained somewhat here, but there are also nods back to his heyday. There is certainly more of an industrial and atmospheric flavour mixed in with the bluesy struts this time around - but the clash of styles works in a way that only Manson could pull off. Much of the material here was performed by Manson and Jennings but there are also contributions from a number of other musicians, including the members of Manson's current live band - guitarist Paul Wiley, bassist Juan Alderete (Racer X; Big Sir; The Mars Volta), and drummer Brandon Pertzborn (Black Flag; Ho99o9).
The album opens with the pulsing synths and creepy spoken word of Red Black and Blue. Manson's albums often open with a bang, but We Are Chaos opens slowly. The spoken word recalls the Antichrist Superstar title track a little, but it is more Bill Hicks than Adolf Hitler this time around, and it really sets the creepy tone that comes to dominate the album. After a minute or so, a percussive drum beat kicks in and the song starts proper. Moments of the song really hark back to Manson's glory days, with a prominent bassline driving the whole piece - while a punky chorus sees him turn the clock back to the late 1990s with some trademark vocal howls. Despite the organic feel of his recent work, there were still heavy moments to be found. This song feels much more true to his past however, with a great mix of industrial vibes that are sure to please any long-time fan. The chorus itself is very memorable too, and is in the shout-along style of many of his most well-known tracks - ensuring that the album starts off with a slow-burning bang. The title track follows, and it is a number that really taps into the more organic feeling of his other recent works. Much of the arrangement is quite sparse, with acoustic guitars and cold synths backing Manson's distinct croon during the verses; before a demented U2-esque chorus sees guitars and pounding drums crash in for a more anthemic moment. Despite his abrasive sound, Manson has always known how to craft a strong and hooky chorus. His music has often had that great mix of anthemic and caustic - and this song really showcases this. While it might not be anywhere near as heavy as many of his hits, the song still sounds like classic Manson. It reminds me a little like a modern version of The Nobodies at times - as both songs share a similar acoustic-based darkness that then explodes into a heavier chorus. Don't Chase the Dead (who's video features actor Norman Reedus) is a much more overtly-rocking piece, and there seems to be a big call back to the 1970s glam-influenced Mechanical Animals here. Programming and synths are all over this track, and the main guitar riff has a strident arena rock feel. Mechanical Animals really went for this mix of industrial and glitter in a big way, and Manson has recaptured that sound again here. The song certainly never reaches the heaviness of the album's opening number, but there is still a strong energy here. The bass playing throughout helps to create a strong groove, while sparkling keyboards really offset the darkness of Manson's gothic croon. Those who love Manson's more melancholic but energetic sound will instantly love this track - and it is a real throwback to some classics of the past.
Paint You With My Love slows things down a little, and once again pushes his recent organic sound. It is a bit of a piano ballad, with the instrument dominating the whole song. Being a Manson song however, nothing is ever quite so simple as being described as purely a 'piano ballad'. His songs always have big arrangements, no matter how simple the core idea is - so there is still a lot going on here. The piano always rings through the mix, but industrial grooves and synths are still a big part of the song - while a droning drum groove really helps to back up the sombre choruses. It is a song that continues to build until the end too, with the final chorus taking on a much heavier and urgent feel than the rest of it - featuring some trademark throat-ripping Manson vocals. Half-Way & One Step Forward is similar to the previous song in some ways, as there is a big piano presence here too, but I would not describe the song as a ballad. There is a creeping dread that fills the whole song, which is emphasised by the mid-paced drum grooves, but the core element to focus on here is Manson's vocals. While he is always the star of his albums, the music is not always just a backdrop for his crooning. This song however is a tapestry for him to sing over, and his voice is really prominent in the mix as a result. While Manson has always been a patchy live performer, his voice in the studio has always been excellent. His vocal power is as impressive now as it was in the 1990s, and this song showcases his deep gothic croon at its best. He might not scream and let rip quite as much anymore, but Manson is still a compelling vocalist - as this song proves. Infinite Darkness opens with some of the album's trippiest synths, before a programmed drum pattern kicks off a subtle verse that again recalls the Mechanical Animals sound. That album seems to have been a bit of a touchstone for Manson here, as there are quite a few moments that ape the sound that he forged on his third studio album. That sound seems to suit the older Manson a little better as it is not as abrasive as some of his other work - but he can still scream and headbang with the best of them as he showcases during the song's old-school Nine Inch Nails-esque chorus. The contrast between the heavy chorus and the sparse verses works really well, and the song is a really dynamic piece as a result. Some of the album's heaviest riffing is found within, and as a result I can see the song working really well live. Perfume goes for the demented arena rock sound featured on Don't Chase the Dead, with Mechanical Animals-esque grooves once again being showcased. This is a very percussive song, with a big drum loop and bass presence throughout, and it is also instantly-memorable with a repetitive chorus hook that is present right from the start. There are better songs here, but for pure hard rock excess this is probably the best recent example of Manson at his most strutting. Songs like this really are not that far removed from the sound of Slade and T. Rex - with the synths and gothic tropes merely set dressing what is, at its core, a simple stomping rocker.
Keep My Head Together is a little heavier and darker, but sound wise it is not hugely different from the past couple of tracks. The bass is still the main driving force throughout, but the glittery stomp of the past couple of numbers is replaced by something a little heavier and more grinding. Simple, yet tough, guitar riffs are constantly grinding away in the background; and Manson's voice often blends in with the background to become part of the wider tapestry - which is in contrast to the approach usually taken. In some ways, the song is something of an inversion of the previous couple of tracks - while still keeping the album's core sound intact. It feels similar yet different at the same time - which is difficult to achieve, but it works well in my opinion. There is even a strange guitar solo in the song, presumably from Jennings, which is distorted and chaotic - but it fits in perfectly with the song's overall mood. Solve Coagula is another acoustic-based song, with the organic vibes of the Bates-era albums once again pushed to the fore. I really like how this album is a real mix of Manson's styles from throughout the years. If Mechanical Animals and The Pale Emperor were put in a blender, then We Are Chaos would be the likely result - and the two styles work really well side by side. This is a song that could have happily sat on one of his last couple of albums, and it is great to see that Manson wants to continue on that style in his new collaboration with Jennings. The organic vibes and more acoustic production suits the older Manson well, and songs like this really showcase his great croon and lyrics. The album comes to a close with Broken Needle, another slower song that recalls his other recent albums. It is probably the album's second true ballad, after Paint You With My Love, but it works really well to bring the album to a close. Many of Manson's albums have ended on slower songs - usually bringing all of the album's mournful themes together in one last expression of emotion. That is certainly what Broken Needle feels like - and it succeeds in the same way that Coma White did on Mechanical Animals. The song contains easily Manson's most emotional vocal performance on the album, and it shows that when all of the tricks and synths are stripped back he is still just a great vocalist. He does not need all of the gothic melodrama to succeed, he is just boosting what is already there. I think that is partly why his more recent albums have been so well-received, as they often strip back some of the excess production and just allow Manson as a singer and a songwriter to shine in a more naked and natural way. Broken Needle really does this, and as a result the album comes a poignant close as a result. Overall, We Are Chaos is another really strong album from Manson that continues on his recent resurgence. As much as I liked his other recent albums, and particularly The Pale Emperor, this might be my favourite album of his since The Golden Age of Grotesque. There are a lot of very memorable songs here, and the overall vibe is just spot on - with classic Manson tropes being referenced throughout. At 43 minutes long too, this is a very digestible album - and one that I can see myself returning to a lot over the next few months.
The album was released on 11th September 2020 via Loma Vista Recordings/Caroline International. Below is his promotional video for Don't Chase the Dead.
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