Marilyn Manson
41
The Pale Emperor
Review by Dave Simpson
T
he Pale Emperor heralds the triumphant
return of legendary alt-rock act Marilyn
Manson. Considering it’s been three whole
years since the band’s last record dropped,
– not to mention the fact that production
began on this latest venture way back in 2013 – many
may say it’s been a long time coming. Fortunately for
those expectant masses, the band’s ninth studio album
is quite a treat.
“Killing Strangers” is a slow burning, atmospheric
opener. Bass and drums creep into characteristically
demented vocals from the eponymous lead singer. The
riff and melody escalate, becoming particularly fiery
towards the end. “Deep Six” emerges ominously out of
this with fast paced drums and coarse vocals. Raw,
penetrating guitars follow on, charging into an
aggressive chorus.
“Third Day of a Seven Day Binge” begins reservedly,
growing as it develops. A combination of musical
elements unfold in the background throughout, adding
an unsettling ambience. “The Mephistopheles of Los
Angeles” changes things up with a deceptively light
introduction that is soon supplanted by a more weighty,
infectious rhythm. The chorus injects an engrossing
melody into proceedings, that’s kept afloat by biting
instrumentation. Its successor, “Warship My Wreck”,
fades in gradually, establishing a foreboding tone. It
eventually kicks off with frantic vocals and fearful
music.
A laboured, technical beat and strained vocals expand
out of “Slave Only Dreams to be King”’s intro. The
chorus is heavy and bracing, combining with a lot of
electronic elements to set a tormented vibe. “The Devil
Beneath My Feet” goes in a different direction, starting
with relatively upbeat drums and a bassy, electronic riff.
Thi ́