MARILYN MANSON

As comebacks go, this is decidedly low-key. "One Assassination Under God" arrives after several years of legal tussles and terrible publicity, as Marilyn Manson attempts to fend off the various accusations that have been levelled at him. Although not convicted of anything (yet?),the alt-rock titan has been widely and resoundingly cancelled — insomuch as that actually means anything in reality — and his return has been met with a mixture of surprise and dismay.

Certain sections of the rock and metal media should probably hang their heads in shame, after reveling and delighting in Manson's ambiguity and menace for decades and then acting all butt-hurt when he (reportedly) turned out to be exactly what he said he was. But there is no point in pretending that his brand has not been irreversibly damaged and that whatever happens now, the gradual return to form that began in earnest with 2017's "Heaven Upside Down" is no longer likely to be celebrated by anyone but his most devoted fans. Hence the almost muted launch of the 12th MARILYN MANSON album. There has been very little promotional fanfare, reviewers were denied access to the music before release date, and there has been an almost total lack of the excited chatter than normally accompanies a new record from such a big star. Even if "One Assassination…" is a triumph, it will be hard to view its emergence as anything more than tentative. All of which is a shame, because while it is virtually impossible to listen to these songs without being aware of their unsavory backdrop, there is plenty here that speaks well of Manson's ability to evolve and move forward, in musical terms at least.

Neat, streamlined and focused, "One Assassination Under God" is a very deliberate attempt to reset. Manson, who clearly can't help himself, peppers these songs with overt and covert references to his recent troubles, and the overall impression is of a man enraged by what he sees as destructive lies about his personal life. Defiance is an expected characteristic, and Manson does defiant better than most, but in the context of rape allegations, the total absence of any genuine self-reflection (not to mention consistently high levels of vitriol) is a little jarring. But nobody listens to a MARILYN MANSON for comfort and joy, and for those who can weather the morality of giving him the time of day in the first place, "One Assassination Under God" delivers plenty of the darkly ruminative barbs and bullets that were so fundamental to the big man's rise to commercial glory.

The title track slithers into view: a slow-slung goth metal grinder, it aches with melancholy and bitterness, jagged metal riffs underpinning Manson's grim diatribe, and a big, wall-of-guitars blowout towards the end that is equal parts lush and lacerating. "No Funeral Without Applause" continues the elegant, restrained heaviness, with a quietly catchy chorus hook and sinister, post-punk guitar work; "Nod If You Understand" is spikier and more belligerent, with prosaic metal riffs butting up against an industrial pulse and Manson in bug-eyed punk rock mode. "Pain is a language that was spoken to me," he shrieks, "and now it's my time to answer!" Again, there is a strong sense that someone is playing the victim here, albeit behind a thick façade of performative fury. Whether or not any of it rings true is open to debate, but these songs are strong enough to at least warrant speculation. From the glossy, synth-led goth rock of "As Sick As The Secrets Within" and the grotesque glam stomp of "Sacrilegious" (which is no "Beautiful People" or "Disposable Teens" but plainly wants to be),to the rugged, spiteful thud of "Raise The Red Flag" ("I don't give a fuck if you say you're sorry!") and the atmospheric, prog-tinged splurge of the closing "Sacrifice Of The Mass", this is a solid and accomplished record with some great tunes. Whether or not people will engage with it in sufficient quantities to restore Manson's career to its former heights is another matter.