Marilyn Manson - One Assassination Under God – Chapter 2 (2026)

Best tracks: Lucifer's Teardrop / Exit Wound

On the first part of One Assassination Under God, Manson unexpectedly began singing in his “real” voice (though perhaps no one noticed). As usual, there was talk of a new level of lyrical maturity. The musical component was neither the heaviest nor the greatest, but it sat comfortably above average. The opening track, “Unalive,” begins as a continuation of the first part; the accompaniment to Manson’s verses and vocals, provided by Tyler Bates, is also in place, even though he has left the touring lineup. But it quickly shifts into the standard Manson mode, furiously declaiming his ideas. The second track, “Don’t Answer the Door,” combines all of Manson’s vocal mannerisms, so you can rest easy: he is now simply more varied, sinking into a heavier synth-pop. Let's just say Manson's emotional range has become richer. And his styles have always depended heavily on the accompanying lineup. Gothic, new wave, synth-pop, alternative metal, nu metal—that is roughly the palette of the new album. Memorable links and riffs are also present. The choruses, however, often fit into a single line. “All the Vilest Things,” on one hand, continues Manson’s ballad tradition, while on the other it is too tender in the chorus and hurls you back to early-2000s MTV.

“Lucifer’s Teardrop” is a magnificent, buzzing embodiment of all the faces of modern Manson. The sole single, “Exit Wound,” is also excellent—a creative flight through the different eras of the musician’s career.

The first part was worthy, but this one interested me more in its attempts to grab as much as possible—attempts that often succeed.