It's just a little bit of a letdown, then, to hear that old shtick resurrected on much of Heaven Upside Down; to be sure, The Pale Emperor was no testament to purity, but from the jump Manson seems desperate to reclaim some of the outrage he produced in the '90s. F-bombs abound, as do rants against religion and government alike; the thing is, as reasonable a facsimile to his heyday material as these songs sometimes sound, the same old mission statements just can't possibly be as poisonous or dangerous as they were twenty years ago. As sensitive as the times we live in are, a previously provocative phrase like "fuck your bible" just doesn't hit with the same force - partly because it's old hat for Manson, and partly because the real life horrors of the world make the sentiment seem positively quaint. I won't sit here and tell anyone not to challenge the system, but the methodology from the '90s just doesn't cut it anymore.
Having said that, Heaven Upside Down is mostly effective from a musical standpoint, as the band and Bates have incorporated a lot of classic Marilyn Manson sounds into this record. The bluesy experiments of The Pale Emperor are often jettisoned in favour of industrial and electronic flourishes and, even if it's a pretty jarring about face from that last record, the nostalgia trip in store for fans of Antichrist Superstar is worth investigation, especially for fans who have shied away from most of the band's post-'90s material.
To be clear, though, this is very much an album of Manson's current period and, as such, there are moments of progression that remind us why we still care ten albums in; Bates' mark is felt strongly on the synth-heavy and danceable single KILL4ME, which proves that underneath all the bluster there are some really well-written songs to be heard. Saturnalia is another prime example, unfurling from a thumping and noisy intro into a supersized goth triumph. It doesn't go out of its way in an attempt at offence, rather stays focused on the song and comes out as a true latter career highlight because of it. That these two stellar tracks are followed by the vapid coke n' sex ode JE$U$ CRI$I$ is as crystal clear a microcosm for my frustrations with the album as you can get.
Thankfully, the album closes with two more fantastic songs that ignore past trappings and go for that more mature sound that brought Manson back from the brink of total irrelevance; the title track is a mid-tempo glam romp that fits perfectly in that current Manson wheelhouse of more traditional rock, even boasting an acoustic guitar. Threats of Romance, meanwhile, goes out on a sinister slow-mo note, and ends the album in appropriately epic fashion without resorting to cheap attempts at shock or rehashing sonic ground that's already been trampled bare.
Overall, I wouldn't call Heaven Upside Down a misfire, and I can't fault the band for succumbing to the temptation of those old and very successful tropes (besides, there are a few undeniable jams that fall into that category for me). Those moments aren't the story of the record, though, and there is still plenty of promise when the focus is more heavily placed on the songs than the facade. I feel like letting go of that old and worn out persona is a lot easier said than done, but to me this album is much more intriguing when the nostalgia wears off, the mask slips and Manson stops playing provocateur to a public that he hasn't truly provoked in quite some time.
October 6, 2017 • Loma Vista
Highlights KILL4ME • Saturnalia • Heaven Upside Down
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