[LPレコード] WE ARE CHAOS＜Translucent Red Vinyl/限定盤＞

メイン

Extending a late-era artistic renaissance with his 11th album We Are Chaos, Marilyn Manson goes three-for-three with his Loma Vista output, delivering yet another taut set of catchy earworms that retains enough of his peak-era trademarks while continuing his unexpected late-stage evolution. This time around, the elder goth statesman parts ways with creative partner Tyler Bates -- the man who assisted Mansons late-2010s comeback efforts The Pale Emperor and Heaven Upside Down -- and connects with outlaw country musician Shooter Jennings. For those expecting this to be a boots-and-beer makeover, rest assured that Jennings doesnt change the formula too much, sprinkling just the right amount of Nashville dust into the mix to color Mansons usual corrosive, ghoulish sound. Still, those moments -- like the mirrored pair of Half-Way & One Step Forward and Broken Needle -- simply end up sounding like unearthed treasures from the glam rock Mechanical Animals era. Manson kicks off Chaos from atop his weathered pulpit, delivering a purposely spooky but reliably inscrutable, spoken word sermon that quickly rumbles to life with a pounding beat, gurgling bass, and chugging riffage. That track, Red Black and Blue, hits a raging sweet spot, joining Perfume and Infinite Darkness as the albums most classic-sounding moments. While the former evokes The Pale Emperors rollicking blues-rock bluster in the best way, the latter introduces the albums de facto Side B with suitably buzzing riffs, cacophonous percussion, and a feral vocal performance. Beside these diehard-pleasing cuts, We Are Chaos also delivers plenty of hauntingly beautiful revelations. On Dont Chase the Dead, icy Depeche Mode synths, 80s power ballad majesty, and a gorgeous chorus combine to paint Jennings influence in thick black eyeliner. Later, atmospheric guitar licks reminiscent of the Smiths How Soon Is Now? are twisted to serve Mansons angst and frustration on the smoky groover Keep My Head Together. Beyond these standouts, the most unexpected moment on the album comes with the Love and Rockets-inspired lead single We Are Chaos, which shocks not with the typical Manson scare-and-offend schtick, but because its actually quite good. By far the poppiest moment in his catalog, this surprise is a jarring, subversive anti-anthem that sounds almost inspirational until the nihilistic lyrics sink their teeth in. That focus on songcraft has been the key to his rejuvenated Loma Vista material and why its such a delight to hear after three decades as hard rocks go-to bogeyman. As the years of shock tactics and theatrics fade into memory, Mansons left with just the music, aging as gracefully as he can with another expertly crafted offering for the altar. ~ Neil Z. Yeung

Rovi