Album Review: Marilyn Manson, Heaven Upside Down

Marilyn Manson might not be as shocking or troubling to the media, moralists, and decency upholders as he once was, but with new album Heaven Upside Down, he remains as artistically vital as ever. Indeed, the record features some of the finest songwriting of his career.

Confrontational as always, Manson has created an album that retains the sonic assault of records past, whilst still boasting a strong melodic sensibility. The splendid 'KILL4ME' is among Manson's best ever compositions, highlighting a flair for alternative disco grooves he rarely gets credit for. 'Blood Honey' builds from a plaintive keyboard melody to a gargantuan guitar onslaught, while closer 'Threats Of Romance' balances roots piano with a cacophony of abrasive vocals and thunderous guitars. Indeed, these beguiling moments of skillful genre-melding are a recurring feature of this excellent album.

Certainly, it's a rare record that can simultaneously evoke the memory of '80s dark new wavers such as Soft Cell, Bauhaus, Gene Loves Jezebel and Killing Joke, while adding elements of rhythm & blues and hardcore post-punk. Co-producing with Manson is prolific film composer Tyler Bates (Guardians Of The Galaxy, John Wick etc), who also oversaw the band's previous album, the critically acclaimed The Pale Emperor.

Bates' adds real richness to the Manson palette, in particular some twangy, neo-gothic western guitar tones, which contrast nicely with the icy synths. His occcasional predilection for traditional blues-rock aesthetics is a deviation from the avant-garde work of erstwhile guitarists Zim Zum and John 5, but it works exquisitely.

Heaven Upside Down is a deeply satisfying album, up there with past Manson high-points like Mechanical Animals. There's something comforting in knowing that the goth-rock iconoclast rages on - and even better is the fact that, musically, he has rarely been as brilliant.

8/10
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