After a late-career rejuvenation with 2015's , extended his creative hot streak with musical partner on the band's tenth offering,. Bates is a perfect fit for modern-day Manson; his day job is composing film scores for little indie movies like Guardians of the Galaxy and 300, which is to say, he has a strong grasp on how to construct well-structured pieces of music which impact the listener emotionally. When The Pale Emperor was released in 2015, I hoped that the majority of the critical reviews did justice to the content. Originally saddled with the punny title Say10, the album bares sharper teeth and bloodier knuckles than its predecessor, combining 's bluesy, vampire-roadhouse sleaze with the jagged industrial edges that first propelled to notoriety in the '90s. The working title of this was Say10 but I think changing it to Heaven Upside Down was the better option as the former name sounds too cheesy in fact it could have worked as a parody of the band.
The chorus is incredibly assertive, with Manson on autopilot, screaming to the top of his lungs. Over the course of the past ten years or so, we have arrived at a place where there are really two Marilyn Mansons. To his benefit and credit, Manson mostly utilizes his anachronistic slogan style of writing, essentially using whatever the song title is as a lyrical focus. But the albums that followed were just a reminder that there is no band in my favorites list that has a discography with all albums being qualified as good. Manson makes stripped-down garage rock. The music stands out here in particular, contrasting the other nine songs. Instantaneously catchy with a good dose of industrial rock via death blues menace, Heaven Upside Down may be a little front-loaded, but it boasts some of the best and certainly most balanced sequence of songs Manson has released in a while.
Manson had said previously that it was more in line with fan favorite Antichrist Superstar; upon listening to it I, and most others, would say that it is a far cry from the greatness of that album. The 1st radio single off Heaven Upside Down was We Know Where You Fucking Live. As always, lyrically, there are some incredibly clever moments. Final Thoughts All in all, Marilyn Manson delivers another great album with Heaven Upside Down. Love him or loathe him; his career and his life have been one of the most enduring and fascinating in modern rock music. Let be me clear, I still hold Eat Me, Drink Me as my favorite Manson album but The Pale Emperor comes at a close second. The second half of the album opens up with a track which could easily be a long-lost Depeche Mode track from the era when Dave Gahan was regularly courting his own destruction.
Acting as a producer and band member, Bates has clearly done well in trimming all the fat that bogged down many latter-day Manson records. Whenever he moves away from that onto his most confessional style of writing, things feel a little less compact. Mid-tempo, from the start, this record never feels rushed. It commences with an excellent groove. Manson, like so many solo vocalists, is a visionary by which I mean he has a vision, not necessarily a good vision and a curator, and as such, is highly dependent on his collaborators. Along with the acoustic-guitar-accompanied, poppy title track, the song wraps up the record in a compact way.
And I reckon that it was due even more praise than it was offered. One advantage that it has is being placed as 6th on the track listing. It pales in comparison to The Pale Emperor—which not only showcased that the band can trail-blaze—but that they can also revolutionize rock in the pop-dominated 21st century. The title track is also pretty good, but I find myself wishing that new ground would be broken by the band. At only 10 songs, this feels like a consistent, strong Manson. In the latter stage of the 90s, Manson was the most controversial rockstar on the planet: known for urinating on crowds, mixing in Satanist circles and claiming, in 1995, to have smoked human bones.
After a two-year hiatus The Pale Emperor, 2015 , the ripest of shock rockers drop an exhilarating tenth studio album, Heaven Upside Down. Unfortunately, Manson is his own worst enemy. Sure, Manson is past his heyday, but the 48-year old still has some tricks up his sleeves. Actually, they are almost identical if you listen to them one right after the other. On the chorus, the deck of cards is completely revealed with a catchy, yet incredibly blasphemous hook. Cocaine and heartbreak continue to fuel the reclusive ghoul, recalling the best of 2007's forlorn , a record that gave listeners the first peek at the man. Despite this more sensitive moment, there are no radical departures here, musically or lyrically, and numerous tracks on the album feel slightly undercooked.
The actual genre of those pieces of music is almost irrelevant. . Later on, it was explained that the eponymous lead singer was dissatisfied with the album at that period. The Antichrist Superstar is back after two years with the album: Heaven Upside Down 2017. If was a welcome return to form that signaled a new day for the band, its successor is just as satisfying, if not better.
Marilyn Manson is a figure surrounded perpetually in mythology, both real and fake. Manson delivers strong, dark, devilish vocals. Though Manson has stated that the lead single and Saturnalia are both centerpieces of the record, I beg to differ, as the latter song is quite overdone. Sound effects and processed samples share space with freaky circus organs and cavernous percussion ambience. This song is the epitome of industrial rock—a genre that Marilyn Manson along with others such as Nine Inch Nails, White Zombie, etc.