Album Review: Marilyn Manson – The Pale Emperor


We can’t please everyone. That’s a given. Musicians are human, they grow, they change and evolve. From project to project sounds may change but fans and the media are never happy unless you sound exactly the same as their favourite record. In the eyes of some fans and critics, some people can never get it right. This is true of Marilyn Manson. He threw shit on the white picket fences of America proclaiming he was the All American Antichrist and scared the hell out of soccer moms. He supposedly convinced, by the power of music, teenagers to kill each other. He then went on to create “break up” albums, he put on some weight and battled a drug problem and now his latest record doesn’t sound like Antichrist Superstar. What do you want kids? Martha Stewart?
From Portrait of an American Family to Holywood, I was hooked. However, everything that came in-between slipped through my fingers, willingly, they didn’t stick with me. I never abandoned the idea that the man has more in him, even if it was a swan song, one that we played as we shot him out into the stars filled with absinthe and cocaine. I waited for something better.
The Pale Emperor is a step away from the high energy Guns, God and Government theme. People are right in saying that it doesn’t sound like Antichrist Superstar or Mechanical Animals but you can pick up remnants of the past such as familiar drums beats, electronic sounds and his snarling drawl that is very much a trademark of the man himself. In essence, this is a Marilyn Manson album.
The album serves as more of a personal, cinematic view of the world with an almost blues influenced style that is must more catchy and melodic than previous albums. The Pale Emperor harbours a darkness that brings us back to the sinister and theatrical aspect of the Manson facet that has never actually left us or him for that matter.
This is a definite return to form.

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