It has been a long damn time since we sat down and listened to a full Marilyn Manson album from beginning to end. ANTICHRIST SUPERSTAR was the record that had us completely locked in, but somewhere after that, our musical tastes wandered into darker, heavier territory and Manson became more of an artist we kept an eye on rather than someone dominating our playlists.
He still had a way of making us pay attention, though.
Now, after listening to ONE ASSASSINATION UNDER GOD: CHAPTER 2, we’re paying attention again.
Photo Credit: Gretchen Lanham
Released today through Nuclear Blast Records, the nine track album marks the second chapter of the story Manson began with 2024’s ONE ASSASSINATION UNDER GOD: CHAPTER 1. Co written and co produced with longtime collaborator Tyler Bates, the record continues the cinematic industrial sound of its predecessor while leaning heavily into the darker, more aggressive side of Manson’s musical personality.
And somewhere in these nine songs, that old spark is back.
Not necessarily the exact Manson of the 1990s. We’re not going to pretend anyone can simply rewind three decades and recreate the cultural earthquake that was ANTICHRIST SUPERSTAR. What we hear here is something more interesting: an older Manson who sounds like he has something left to prove.
His recent live performances have been described by fans as feeling like “the old Manson,” and after hearing this album, we understand why. There is a renewed sense of purpose running through these songs, with industrial rhythms, heavy guitars, electronic textures and Manson’s unmistakable voice creating an album that occasionally feels like a lost transmission from the 1990s that somehow survived long enough to reach us.
It is nostalgic without being completely trapped in nostalgia.
The album opens with “Unalive,” which immediately establishes the record’s bleak cinematic atmosphere. Manson has always understood that industrial music works best when it feels physical, and the production here gives the songs a mechanical pulse without stripping away the melody.
WATCH THE MUSIC VIDEO FOR “UNALIVE” BELOW
Then comes “Don’t Answer The Door,” one of the tracks that immediately grabbed our attention.
There is a sense throughout the song that someone is coming for Manson, whether that is literal or metaphorical, and the title becomes its own warning. Don’t answer the door. Whatever is on the other side probably isn’t bringing flowers.
The song also has a strange cinematic quality that reminded us of a John Carpenter soundtrack, particularly in the way the atmosphere hangs around the heavier sections. Manson sings about being watched, discussed and surrounded by people with something to say, and the result feels less like a straightforward revenge song and more like someone acknowledging just how exhausting it can be to live beneath a microscope.
There are subtle references throughout the album that feel connected to the controversies and personal struggles surrounding Manson’s life, but the record never needs to spell everything out. You can hear those experiences lurking underneath the music without turning the album into a courtroom transcript.
Manson himself seems to acknowledge that weight when he says,
“I used each stone that was thrown at me to sharpen my edges.”
That’s a pretty good description of what we’re hearing.
The next track, “Front Toward Enemy,” is what we would call straight up fight music. The song comes out swinging with a guitar-heavy introduction before settling briefly into a cleaner breakdown that gives Manson room to establish exactly what he wants to say. Then the hammer drops. The track becomes an accusatory statement delivered with enough aggression to remind you that Manson still has some very large teeth. This is the kind of song that could make a long drive feel considerably shorter, so consider yourself warned about that gas pedal.
“Exit Wound,” the album’s first single, takes a different approach. There is vulnerability here that contrasts with the more confrontational material, and Manson sounds remarkably aware of how differently people can perceive him. There is the public persona, the cruelty, the power and the mythology, but underneath it is someone who clearly understands that words leave damage behind. That sensitivity has always been one of the more interesting contradictions in Manson’s work. The character can be vicious, while the songwriter underneath can sound surprisingly wounded.
The rest of the album continues that push and pull.
“All The Vilest Things,” “None of the Suns,” “Lucifer’s Teardrop,” “The Arsonist” and “Enantiomorph” fill out a record that never completely settles into one mood. There is anger here, but there is also reflection. There is industrial aggression alongside melody, and moments of beauty sitting uncomfortably beside some very dark material.
That’s where Tyler Bates’ influence becomes particularly important. The production gives Manson room to sound cinematic without allowing the songs to become simple exercises in atmosphere. The guitars have weight, the electronics provide movement, and the percussion keeps the album pushing forward. If you close your eyes and listen, you can hear these songs being at the end of films while the credits roll.
Manson describes the record as the conclusion to this particular story.
“I am proud to give you the second chapter of One Assassination Under God. This completes my story.” He continues, “I outgrew purgatory and carved these songs into the skin of the world. As you listen I hope it forms a scar that you cannot forget.”
Whether this actually represents the end of this chapter of Manson’s career remains to be seen. Artists have a funny habit of declaring things finished only to return when inspiration strikes.
For now, though, ONE ASSASSINATION UNDER GOD: CHAPTER 2 feels like an artist reclaiming some of the energy that made people pay attention to him in the first place.
Manson was never simply a rock musician. His appeal came from the collision of industrial music, theatricality, controversy, horror, sexuality, religious imagery and the uncomfortable feeling that you were watching someone deliberately push against whatever cultural boundary happened to be standing in front of him.
That danger is difficult to recreate after decades in the spotlight. Here, however, we hear flashes of it again.
We aren’t going to pretend this is ANTICHRIST SUPERSTAR. Nothing is going to recreate hearing that record for the first time in the 1990s. But ONE ASSASSINATION UNDER GOD: CHAPTER 2 doesn’t need to be that album.
It needs to remind us why we cared. And it does.
The bigger question is where Manson goes from here. His past will inevitably remain part of the conversation surrounding him, and whether he can permanently step outside its shadow is something only time will answer. What we can judge is the music sitting in front of us. And musically, Manson sounds hungry again. With Tyler Bates stepping away from the group in January 2026 to focus on his film soundtrack duties, we have a feeling Manson will have some classic members of his band for the actual tour.
The old monster isn’t necessarily back exactly as we remember him. Something older, sharper and considerably more self aware has taken his place. If you wanted the “old Manson” back, be careful what you wished for.
You may have gotten more than you can chew.
MARILYN MANSON TOUR
Following today’s release, MARILYN MANSON returns to the road next week for a major North American tour, bringing ONE ASSASSINATION UNDER GOD: CHAPTER 2 to audiences across the U.S. alongside Rob Zombie before continuing with additional headline performances this fall.
MARILYN MANSON & ROB ZOMBIE Co-Headline Tour Dates w / THE HU & ORGY
Aug 20 – West Palm Beach, FL @ iTHINK Financial Amphitheatre ^+
Aug 21 – Tampa, FL @ MIDFLORIDA Credit Union Amphitheatre ^+
Aug 23 – Alpharetta, GA @ Ameris Bank Amphitheatre ^+
Aug 24 – Charlotte, NC @ Truliant Amphitheater ^+
Aug 26 – Holmdel, NJ @ PNC Bank Arts Center ^+
Aug 27 – Mansfield, MA @ Xfinity Center ^+
Aug 29 – Burgettstown, PA @ The Pavilion at Star Lake ^+
Aug 30 – Darien Center, NY @ Darien Lake Amphitheater ^+
Sep 1 – Toronto, ON @ RBC Amphitheatre ^+
Sep 2 – Cuyahoga Falls, OH @ Blossom Music Center ^+
Sep 4 – Clarkston, MI @ Pine Knob Music Theatre ^+
Sep 5 – Tinley Park, IL @ Credit Union 1 Amphitheatre ^+
Sep 6 – Noblesville, IN @ Ruoff Music Center ^+
Sep 9 – St. Louis, MO @ Hollywood Casino Amphitheater ^+
Sep 10 – Kansas City, MO @ Morton Amphitheater ^+
Sep 12 – Greenwood Village, CO @ Fiddler’s Green Amphitheatre *^+
Sep 14 – West Valley City, UT @ Utah First Credit Union Amphitheatre ^+
Sep 16 – Airway Heights, WA @ BECU Live at Northern Quest +
Sep 17 – Auburn, WA @ White River Amphitheatre ^+
Sep 18 – Ridgefield, WA @ Cascades Amphitheater ^+
Sep 20 – Concord, CA @ Toyota Pavilion at Concord ^+
* Not a Live Nation show
^ With The Hu
+ With Orgy
ONE ASSASSINATION UNDER GOD: CHAPTER 2 TRACKLIST
- Unalive
- Don’t Answer The Door
- Front Toward Enemy
- All The Vilest Things
- None of the Suns
- Lucifer’s Teardrop
- The Arsonist
- Exit Wound
- Enantiomorph
Manson has also launched a virtual exhibition connected to the album, featuring original visual works alongside music and audio commentary from the artist.
ONE ASSASSINATION UNDER GOD: CHAPTER 2 is available now through Nuclear Blast Records.
