We had been really fairly excited about Marilyn Manson‘s eleventh studio album WE ARE CHAOS. Intrigued by the prospect of a co-production between Manson and nation artist Shooter Jennings (the son of Waylon Jennings), we had excessive expectations for what a darkish, gritty rock album would sound like with Southern twist. The query is whether or not or not we had been sorely disenchanted.
WE ARE CHAOS opens with RED BLACK AND BLUE which epitomises the phrase “to lull right into a false sense of safety”. With its terrifying distorted vocals, heavy guitars and darkish synths, this was the true Manson horror that we have come to know and love. It is truthfully a little bit of a spotlight.
Nevertheless, as soon as it leads into the title observe, the album fully adjustments tack. Now we have a melodic ballad with a little bit of a post-punk edge. It tries method too exhausting to be anthemic and infectious, and Manson’s voice is frankly jarring all through the restrained verses, and never in an intense, formidable, Nick Cave-esque method – extra in a “has Marilyn Manson misplaced his thoughts?” sort of method.
We not simply saying that as a result of we expect Marilyn Manson should not do melodic ballads, as a result of DON’T CHASE THE DEAD really does it fairly effectively. It is darkish and mournful, however nonetheless with heat synths that sort of reminds us of Bauhaus. HALF-WAY & ONE STEP FORWARD is one other respectable gothic observe, led by piano with occasional nation twangs.
However there are too many tracks the place Manson is making an attempt too exhausting to create one thing inventive and distinctive, to the purpose the place it simply sounds jumbled and incohesive. PAINT YOU WITH MY LOVE and SOLVE COAGULA are two such examples, the previous switching from a dreamy pop tune to a basic rock anthem in a clunky association and the latter giving us 2005 emo however with inexplicable pedal metal intermissions.
INFINITE DARKNESS is a spooky observe and extra on the heavier facet; not too far faraway from the Marilyn Manson we’re used to; whereas PERFUME is about as upbeat as Manson will get, though it typically comes off somewhat tacky. Nonetheless, it is fairly exhausting to get that “Get behind me, Get behind me, Get behind me, Devil” chorus out of your head as soon as it is in there.
KEEP MY HEAD TOGETHER and album nearer BROKEN NEEDLE are forgettable songs, the latter unforgiveably so – no album ought to shut with an anti-climax.
It is not a horrible album altogether, nevertheless it’s actually prone to divide opinion between lots of Marilyn Manson followers. We’re not denying it is a ballsy transfer for a “shock-rocker” to provide an album that is somewhat extra critical and heartfelt, nevertheless it strikes alongside at such a sluggish tempo and the bizarre melancholic rock shock wears off after a few songs. Disappointing? Resolve for your self…
