Instant Impressions: 'One Assassination Under God – Chapter 1' by Marilyn Manson

Nobody makes a comeback like Marilyn Manson, and this album kicks off his second career resurrection in the most triumphant fashion

In the music world, there’s probably no comeback more compelling than that of Marilyn Manson — no stranger to controversy and fighting back in the face of adversity (look no further than his 2000 masterpiece Holy Wood: In the Shadow of the Valley of Death, his musical response to those who blamed him for the 1999 Columbine High School massacre), 2024 marks the shock-rock legend’s return to music, four years after the release of his previous album, We Are Chaos, as well as his first string of live shows since 2019. After months of teasing and an announcement of his signing with Nuclear Blast Records in the spring, the Antichrist Superstar’s resurrection officially kicked off this past summer in Hershey, PA on August 2 — not only was it his first show in five years, but it was also the same day as the release of the single “As Sick As The Secrets Within,” a mid-tempo track that lyrically discussed Manson’s struggles with addiction and journey to sobriety. Two weeks later, a second single, entitled “Raise The Red Flag,” was unleashed, featuring an angry and defiant Manson pointing his finger back at his detractors and the world at large — additionally, there was a limited pressing of a maxi-CD single that featured the two previously mentioned tracks, along with the B-side “Front Toward Enemy,” a song that features an aggressive energy that hasn’t been heard from Manson at that level since “Murderers Are Getting Prettier Every Day” from 2012’s Born Villain record.

After a successful summer tour and some new singles under his belt, Manson’s full-length comeback album, One Assassination Under God — Chapter 1, was announced in late September, featuring the singles “As Sick As The Secrets Within,” “Raise The Red Flag,” and “Sacrilegious,” a classic Manson-sounding track, with a stomping drum pattern, a catchy chorus, and Manson’s trademark religiously symbolic lyricism. The album also marked the third studio collaboration between Manson and film composer Tyler Bates, who previously worked on 2015’s The Pale Emperor and 2017’s Heaven Upside Down.

Aside from the implication that this album is just the beginning of a larger project, what also stuck out to fans upon news of the release was the album cover’s aesthetic similarities to Manson’s Triptych trilogy of classic records, 1996’s Antichrist Superstar, 1998’s Mechanical Animals, and 2000’s Holy Wood — starting with the fonts, Manson’s name on the album cover (as well as all the touring and promotional items throughout this year) is written in the same font as the Holy Wood album cycle, and the “Chapter 1” looks eerily similar in both font and color to the writing of “Antichrist Superstar” on the album of the same name. Furthermore, Manson’s painting, entitled And You Shall Stand in My Shadow, depicts a man (presumably Manson) with a halo around his head, much like he did on the cover of Holy Wood, and the color scheme seems to slightly harken back to that of the Mechanical Animals-era singles, primarily “The Dope Show.”

Finally, it’s not insignificant that this album is being released on the anniversary of President John F. Kennedy’s assassination — Manson has always had a fascination in that administration and the 1960s in general, and it was a heavily prominent topic throughout both Mechanical Animals and Holy Wood. Given how he felt the 90s paralleled the 60s, one can infer that he may now see some similarities between the 2020’s and the 1990s, since they’re the same distance from each other as the 90s were to the 60s. There’s also the theme of character assassination, which Manson has dealt with throughout his career, and it’s a safe assumption that it will play a heavy role in this new music as well.

Along with some symbolic speculation in some of the music videos, many fans began to wonder if this was suggesting a return to the storyline and characters from the Triptych albums, or simply a nod to that era and bringing some sonic elements from those records into the new music. Now, after four long years, the wait is finally over. Feel free to listen along and follow my real-time track-by-track reactions below:

1. One Assassination Under God (5:28)

• The sharp-tongued lyrics in this first half of the song mixed with the brooding instrumentals already gives this an uneasy feeling right off the bat, and I’m loving every second of it

• Manson’s vocals are incredible too, it’s great to hear how much cleaner his voice has become while still retaining that low timbre — not to mention how much more controlled those screams are towards the end of the song

• Tyler Bates has done an incredible job with the instrumentation here and giving it a large cinematic atmosphere — overall, a phenomenal opening track

2. No Funeral Without Applause (4:07)

• The tone and chord progression of the guitar in the intro is very interesting — love how the vocals fit in with the instrumentation during the verse too

• It’s early, but this already has one of my favorite lines so far (“Immoral looking to be immortal, but nothing fits to a T” *chef’s kiss*)

• I can’t put my finger on it, but the chorus reminds me of something reminiscent of Manson’s 2007 album Eat Me, Drink Me

3. Nod If You Understand (4:05)

• The energy in this track right from the jump is incredible, and the fact that it just explodes into the chorus is even better

• I take back what I said during the previous song, this chorus might be my favorite thing so far — having a basic outsider-level of knowledge of what the past few years have been like for him, this is exactly what I was hoping for with this release

  • Not only is it awesome to hear Manson at this level of aggression, but the fact that he doesn’t lose control of his vocals in these moments like he would on prior releases in the more recent half of his discography makes it just that much more worthwhile because of how much stronger he sounds

• There will always be a subsection of his fanbase that will prefer the sound of the Antichrist Superstar album above everything else, so I know they’ll all be grinning from ear to ear with this song — really hope this makes it into the live set next year

4. As Sick As The Secrets Within (5:36)

• I still believe that this was the best choice to make for Manson’s first single after his hiatus — simply from a musical standpoint, it’s such a great bridge from the last song we heard from him before his absence, “Broken Needle,” to this new album cycle

• As a bass hobbyist, learning how to play this song was some of the most fun I’ve had with the instrument in a really long time

• Bill Yukich doesn’t have a single weak music video, but I’d be lying if I said this wasn’t one of my favorites of his — it’s definitely my new favorite Manson video

• I can’t say enough how proud I am of Manson for getting sober, and the fact that he’s comfortable in continuing to write introspective songs like this is just amazing to hear

5. Sacrilegious (3:36)

• It took a few listens for me to warm up to this song, but I can easily see why it was made a single

• To this point, this is what musically feels the most like a general celebration of his comeback, particularly during the chorus

  • The drum pattern and whispering vocals in the post-chorus is also classic Manson, which is a great touch

• There’s something about this track that reminds me of the Eat Me, Drink Me cut “Mutilation Is The Most Sincere Form Of Flattery,” both musically and lyrically — it feels like they have the same overall attitude

• Obviously the nod to “Mister Superstar” at the very end is an incredibly fun addition that had all of us hardcore fans at the edge of our seats, but I also wonder if the line before that sequence, “you can’t kill it until it’s born” is a reference to “Minute of Decay” (“the minute that it’s born, it begins to die”) — there are obviously several possible interpretations of that lyric, especially in today’s climate, but I can’t help but wonder if that was another intentional allusion

6. Death Is Not A Costume (4:53)

• The gothic-style intro, between the clean chorus-heavy guitars and synthy drum machines, is another taste of something different on this album, and Manson’s voice fits so well with this sound

• Can’t help but adore the gradual musical buildup from the verse to the pre-chorus to the chorus, with the guitars in the background being one of the highlights

• I’d read some complaints about the vocal effects when some of the singles were first released, but I’d argue that they work very well in this song, especially during the bridge

• In a way, the chorus reminds me of one of my favorite Manson songs, “Disassociative,” but I also love how it gets slightly heavier towards the end and doesn’t stay in the same sonic territory

7. Meet Me In Purgatory (4:37)

• From a musical perspective, this feels like a mix between “No Reflection” and “Don’t Chase the Dead,” but with a slightly faster-paced energy

• The synths really bring this song to life — aside from the lyrics, they might be my favorite part of the whole song

• I have a feeling this will end up being one of those songs that’s catchier than it seems upon first listen — I can already feel the chorus getting stuck in my head

8. Raise The Red Flag (4:49)

• This song had me hooked from the first time I listened to it — it felt like one of Manson’s most energized and passionately obstinate tracks in a long time, both musically and lyrically

• While the second verse probably has the strongest lyrics, there’s something about the attitude and performance of the pre-chorus that just lives rent-free in my head — it feels great to hear the more sinister side of Manson again

• Gil Sharone’s drumming is hands down the greatest musical aspect of this song — between the transitions and the cymbal work, it just brings the song to life in a way that only percussive elements can, emphasizing Manson’s vocal emotion at times while being the perfect accompaniment at others

9. Sacrifice Of The Mass (6:16)

• What’s great about this song is how heartfelt it is while still retaining that musical sense of uneasiness due to the key it’s written in

• Manson’s voice has been impressive throughout the whole album, but it might be at its highest point here solely because of how well he’s able to maintain control between his regular singing and his falsetto

• Can’t help but feel like there’s a small nod to “Cruci-Fiction in Space” at the midway point with the staccato guitars in the background — that’s probably a reach on my end, but still

• This is such a great way to close the album, but there’s something about that musical malaise that adds to the feeling that there’s so much more to be covered in the following chapter(s) and that this is not the end

It has been a long four years for Marilyn Manson and his fanbase — it’s difficult to comprehend just how hellacious it has been behind the scenes for Manson himself during this time, but the fact that he’s been able to dust himself off and become a better and healthier version of himself not only speaks volumes about his character, but it also serves as a source of inspiration for his fans. While this may not be the first time he’s come back swinging after a heavy smear campaign, it’s impressive just how much he was able to improve creatively and musically during this resurgence — at 55 years old, Manson was able to reclaim that same angst and drive that served him so well during his first comeback with Holy Wood, and sobriety appeared to work wonders for his vocal abilities as well.

Tyler Bates also deserves a ton of credit for how great this album is — as someone who’s been critical at times in regards to his previous collaborations with Manson, I will admit that I was slightly nervous about the record when I first heard that the two were working together again. However, he truly knocked it out of the park on this album with not only his compositions, but his work with ambient sound and other strategies to give the album a cinematic and transcendental feeling to it. The production has a much fuller sound than the previous Manson/Bates albums, and I’m ecstatic to hear how well it all turned out.

Additionally, the praises of drummer Gil Sharone can’t be sung enough — his work on “Raise The Red Flag” is what I’m most familiar with, but there were several instances throughout the album in which I found myself in awe of his drumming. As a legendary drummer who’s had experience in a variety of styles, from metal to punk to ska, there’s a lot that he brings to the table musically, and his presence is felt in each song on the album. It’s great to have him in Manson’s band again, both in the studio and on the road, and I can’t wait to see what he contributes to the next record.

Now as far as the lyrical content, there are several speculations that can be made, and one can only wonder what Manson’s original intentions were. He does a phenomenal job at addressing the events of the past few years while also leaving enough room for other interpretations. While there are musical parallels that can be drawn to several of his previous works, there’s something about it that reminds me of We Are Chaos in the sense that it doesn’t feel like he’s trying too hard, both lyrically and vocally, which ironically elicits a much more effective emotional reaction out of the listener. Instead of simply walking around with his chest puffed out at all times, Manson is just straightforward in his performance and writing, making it all feel completely authentic from beginning to end.

At the time of this writing, my CD hasn’t arrived in the mail yet, so I don’t have access to liner notes or anything of that sort. However, I’m curious to learn what, if any, lyrical and narrative connections can be made to the Triptych. While there’s a part of me that doubts Adam from Holy Wood or The Worm from Antichrist Superstar are in the picture, there’s something about the theme of sobriety and addiction that leads me to believe that the Omega character from Mechanical Animals has some sort of role in the story that’s being told on this record. It might not be far-fetched to believe that Manson could be writing about his sobriety in the sense that it’s the death of Omega, given that the character was a representative figure of the typical “sex, drugs, and rock and roll” lifestyle. Again, this is all pure theorization, and only Manson knows the full story.

All in all, this is not any sort of hyperbole when I say that One Assassination Under God — Chapter 1 is Marilyn Manson’s most impressive and cohesive body of work since Holy Wood. We Are Chaos was a phenomenal album, and one of my all-time favorite contributions to Manson’s discography, but this album is such a special release that checks so many boxes — it’s been a long time since we’ve heard Manson this energized, and it can’t be said enough that his voice is in one of the strongest shapes of his career. The only unfortunate thing is how short the album is — at just 9 songs and a total of 50 minutes, this is Manson’s shortest release to date. However, the fact that each song flows so well from one to the next is a big redeeming factor, along with the fact that there will seemingly be another new release in the near future.

Moving forward and looking ahead to the second chapter of this comeback saga, I’m just as curious about the aesthetic side to the releases as I am with the music itself. Over the past few years, Manson and his wife, Lindsay Warner, have posted French artist Alexandre Cabanel’s painting The Fallen Angel several times on their social media pages, and I'm very interested to see if this specific design will be incorporated into a future album cover as part of this comeback series. Much like how Holy Wood featured Manson in the crucifixion position akin to Christ on the cross, I feel like adding his face and features to the style of this painting would be a fitting touch, especially after seeing Manson in that same pose during the “Raise The Red Flag” music video. At the end of the day though, I’m just happy that Manson’s back and releasing music again, and I trust the judgement of him and his team to make the best moves that make the most sense, visually and sonically, on future releases.

I’d mentioned this when I wrote about my experience at his first headlining show this past summer in Silver Spring, MD, but Manson’s music has always been a big part of my life — growing up as an Alice Cooper fan, his music and persona easily piqued my interest at a young age, and I’ve always had a strong appreciation for his songwriting skills and general creativity. The way in which he was able to weave social commentary with heavy narrative storytelling and worldbuilding with the Triptych albums still astounds me to this day, and when I was first developing an interest in music journalism from watching That Metal Show and listening to artist interviews, Manson was at the top of my interview bucketlist because I could tell that there would be so much to learn about some of my favorite songs and albums of his if the interviewers asked the right questions. Not only that, but my first attempt at writing an album review was for his 2015 record The Pale Emperor, so to be able to cover his return this past summer and this new album today is what I can’t help but feel is one of those full circle moments. As I’ve stated several times before, the music industry is a better place with Marilyn Manson in it, and it’s going to be extremely exciting to see what the future holds now that he’s back and better than ever, once again with a chip on his shoulder and a story to tell.

As of now, my top 3 standout tracks from One Assassination Under God — Chapter 1 are:

• One Assassination Under God

• Nod If You Understand

• Death Is Not A Costume

Marilyn Manson (photo by Perou)

If you listened along and also enjoyed the album, you can buy/stream One Assassination Under God — Chapter 1 here.

To keep up with Marilyn Manson, click here.