Marilyn Manson The Pale Emperor on 2LP
Conjured from a séance into a true renaissance. This is, without a doubt, bona fide Marilyn Manson. It is all swagger and does not miss a beat on his ninth, newest studio album, The Pale Emperor. The seer, scribe, painter, actor, criminal, panderer of chaos, live performer...oh, and rock and roll demagogue, thee Marilyn Manson roars back above the froth of mass-media and ass mediocrity to deliver a set of soul-stripping, kiss-smearing, church floor-burning songs that stand, unequivocally, as his most fully-wrought album since 1998’s epochal Mechanical Animals.
The Pale Emperor does not just capture our cultural moment, but sinks swamp-deep into equally redneck, snake-handling Baptist-revival-tent terror. He shape-shifts vocally from preacher man to the fangs and venom of the serpent that he holds. (And, just to be clear, while more baddass than bitch, he looks better in ruby lipstick than most ingénues.) Manson has long had his hand on the pulse; now the pulse again moves to the ministrations of his hand.
Sounding like a conflicted black and blues combination of a life-lived, The Pale Emperor is a nod to Manson's favorites like Tom Waits, David Bowie, Alice Cooper, Joy Division and T. Rex. In its use of space and texture it evokes shades of PJ Harvey, The Birthday Party and Bauhaus. Intimate yet epic; this Emperor embodies a purposeful paradox. Wide-screen sonic storytelling is the essence of The Pale Emperor.
With the album, Manson also introduces his newest foil, Tyler Bates. Manson and Bates first met on the set ofCalifornication. Although they did not work together musically on that show, recently their song “Cupid Carries a Gun,” was used in the opening titles to the hit series, Salem, that was also scored by Bates. In Bates, Manson has found an ideal co-conspirator. Followers of the nexus where music meets film will recognize Tyler Bates’ name. He is, by far, the brightest talent working in film and television today. Obviously, his record-setting success with the score for 300, The Watchmen and also cult favorite Killer Joe were enough reasons for Manson to feel honored and excited to collaborate. The duo worked around each other's schedules. While Manson was acting on Sons of Anarchy, Bates just happened to also be scoring the highest grossing film of 2014, Guardians of the Galaxy!
And so it begins. "Killing Strangers” is, in its simplicity and darkness, a Marilyn Manson classic. Pills and bone percussion with a slanky guitar riff is the foot that kicks in the door. Then there he is. No one has a voice like Marilyn Manson. His tone seems to change depending on the sins of the listener. Diagnosed with five notes simultaneously emitted from the gravel of his neck by a genuine astrophysicist. It is intimate in a way that scars you. With the song’s chorus – “We’re killing strangers, we're killing strangers, so we don’t kill the ones that we love!” – Manson makes Apocalypse Now and Last Tango in Parisbecome a chain gang chant. “Blow us a kiss,” invites Manson, “and we’ll blow you to pieces.”
“The Devil Beneath My Feet” is a glam-rock stomper ready to resonate in sweaty arenas, as Manson twists Biblical verses into curses with the line: "I don't need a motherfucker looking down on me, no motherfucker looking down on me." The first track that slipped into the mainstream "Third Day Of A Seven Day Binge," performed recently with the Smashing Pumpkins in London, was #1 on Rolling Stone magazine’s ‘Playlist’ and described as "both equally catchy and depressing."
"The Mephistopheles of Los Angeles" is a meat beat manifesto that defines the Faustian theme of the record. With the heart-bashing chorus, "Are we fated, faithful or fatal?" the massive cocksure guitar riff of Bates and filthy drums played by Gil Sharone... This ain't no genocide, this is rock and roll. The undulating and white-knuckled beat of “Deep Six” has enough gleaming metallic riffage to keep a nation of head bangers and strippers in business as Manson asks, “You wanna know what Zeus said to Narcissus? You better watch yourself!” – Be assured that when Manson is clever, every punch line packs a punch.
There’s a sense that with The Pale Emperor this is once again Marilyn Manson’s moment, that he is astride the roiling beast of art, indivisible from society. He has delivered a set of scabrously witty songs whose stomp and pomp deserve or - better yet - demand – the world’s attention.
Marilyn Manson The Pale Emperor Track Listing:
1. Killing Strangers
2. Deep Six
3. Third Day Of A Seven Day Binge
4. The Mephistopheles Of Los Angeles
5. Warship My Wreck
6. Slave Only Dreams To Be King
7. The Devil Beneath My Feet
8. Birds Of Hell Awaiting
9. Cupid Carries A Gun
10. Odds Of Even