Album Review: Marilyn Manson – One Assassination Under God – Chapter 1
2 min read
After a long disappearance and amid serious allegations, Marilyn Manson has returned with a new album, One Assassination Under God. The immediate question for many—including myself—is: why? Beyond the controversies surrounding Manson’s continued presence in the spotlight, the music itself offers little to justify his return. This album, even on its own merit, is a disjointed mess that struggles to find purpose, weighed down further by its crass title and overtly sacrilegious themes.
The album’s most glaring flaw is its lack of cohesion. Tracks like Sacrilegious and Death Is Not a Costume attempt to recapture the raw industrial rock energy that once defined Manson’s sound. Yet, instead of delivering the intensity of classics like The Beautiful People, these songs feel overproduced and formulaic, completely devoid of the visceral edge that once set him apart. Lyrically, the album relies heavily on shock-value clichés, offering little in the way of genuine insight or depth. The provocative veneer feels hollow, as if Manson is leaning on outdated tricks rather than pushing creative boundaries.
Thematically, One Assassination Under God treads familiar ground, revisiting the artist’s well-worn obsessions with religion, societal norms, and personal demons. However, the urgency and originality that once defined his work are sorely missing. For longtime fans, the album might feel like a shallow rehash of past ideas, with no fresh perspectives or artistic evolution to speak of.
There are fleeting moments of promise. Tracks like Raise the Red Flag manage to channel some of Manson’s rebellious spirit, while Meet Me in Purgatory offers a rare glimpse of authentic introspection. Unfortunately, these brief highlights are undermined by the weight of the album’s larger failings. In light of the serious allegations against Manson—accusations spanning decades and made by multiple women—these songs feel especially hollow. His return to the music scene raises uncomfortable questions about the industry’s willingness to overlook troubling histories in favor of commercial appeal. That he is being positioned once again as a prominent figure in rock music is troubling and reflective of skewed priorities.
Ultimately, One Assassination Under God feels like the work of an artist grappling with a tarnished legacy, unsure of how to evolve while remaining true to his roots. For casual listeners, it’s a disaster; for die-hard fans, it’s hard to ignore the sense that Manson is merely treading water. Either way, the album leaves little lasting impression—musically or otherwise.
