The Anti-Christ Superstar is once again staring down the barrel of potential assassination, but this time, he’s not going down without making his voice heard. With his latest album, One Assassination Under God, Marilyn Manson delivers a brooding, dark, and meticulously crafted body of work that feels like both a return to form and a bold step forward. This new record is compact, with a more focused tracklist, showcasing some of his most intense and refined material in years. Every song feels deliberate, every note precise, and every lyric sharp—proof that Manson is still very much in command of his shock-rock empire.

From the moment you hit play, it’s clear this is not just another album—it’s an experience. One Assassination Under God feels more calculated than anything Manson has done in recent memory. He’s clearly in control of his creative vision, presenting an album that is simultaneously dark, intense, and incredibly well-paced. It’s a reflection of both his evolution as an artist and a return to the very essence of his shock-rock roots. At the heart of this album lies Manson's lyrics, which remain some of his most captivating and evocative work to date.

Lines like “Everybody showed up to the execution, but wouldn’t show their faces” from the title track, or “You say love but your mouth is a guillotine” from Meet Me in Purgatory, exemplify his unique songwriting style—still provocative, deeply unsettling, and undeniably relatable. Manson has always had a way with words that speaks to the darker corners of human experience, and he continues to mine that space for material here. These lyrics are not just shock value; they resonate with anyone who has ever felt out of place, misunderstood, or betrayed by the world around them. They’re raw, poetic, and unflinchingly real.

Manson’s vocal performance on this album is another standout feature. His delivery is just as strong as his writing, with the singer employing his signature vocal quirks—long, drawn-out syllables, eerie whispers, and spine-chilling low growls—to create a dark and immersive atmosphere. Tracks like One Assassination Under God, As Sick as the Secrets Within, Death Is Not a Costume, and Nod If You Understand showcase just how versatile his voice remains. He can effortlessly shift from seductive to sinister, commanding to confrontational, all while maintaining that trademark Manson edge. His ability to convey such a range of emotion and tone within a single song is one of the album’s most captivating aspects.

Equally impressive is the band he’s assembled for this record. They’re as tight and honed as Manson’s vocals, and together, they craft a sound that is both haunting and cohesive. The guitars have a dense, almost church-like atmosphere, with an eerie, distorted quality that evokes both '90s grunge and industrial music. The riffs—particularly on One Assassination Under God, Sacrilegious, and Meet Me in Purgatory—are dark and brooding, with a sense of menace that runs through every note. At times, the band even leans into more experimental textures, such as the addition of acoustic guitars on Sacrifice of the Mass, which adds a layer of sonic variety without disrupting the album’s overall tone.

The bass on One Assassination Under God is a force to be reckoned with. It rumbles through the mix, deep and resonant, adding a bold, almost rebellious energy to the proceedings. Tracks like No Funeral Without Applause, Nod If You Understand, and particularly Raise the Red Flag highlight the bass’s rock-and-roll roots, giving the album a gritty, raw feel that recalls the golden age of alternative rock. The bass isn’t just an underpinning—it’s a driving force that helps propel the songs forward and adds real substance to the darker moments of the album.

The drums, while generally simple and stripped-down, perfectly match the overall mood of the album. They don’t try to steal the show, instead opting for a more minimalist approach that complements the slower, heavier tracks. On songs like Raise the Red Flag, the drumming is subdued but still adds a punch, reinforcing the track’s rebellious energy. While some moments, like Sacrilegious, might feel a bit too basic, the stripped-back nature of the drums serves the album's overarching dark and brooding tone. This isn’t an album that demands flashy solos or rapid-fire fills—its strength lies in the atmosphere, and the drums play an essential role in maintaining that.

Production-wise, One Assassination Under God is a triumph. It’s clear that every element has been carefully layered to create a sense of tension and unease. The album’s mix feels purposefully dark, with a polished yet gritty sound that feels like a perfect hybrid of Manson’s earlier work and his more recent experiments. There are no glaring issues with the mixing or mastering; the whole thing flows seamlessly, with each track contributing to the larger narrative of the album. The result is a record that sounds as rich and complex as the themes it tackles—one that could easily stand as one of Manson’s most cohesive and well-crafted albums in years.

In the end, One Assassination Under God proves that Marilyn Manson is far from fading into obscurity. If anything, he’s reached a new level of artistry, blending his signature shock-rock style with more mature, introspective themes. The album is dark, ambitious, and uncompromising in its vision, showcasing Manson at his most focused and strongest. Whether you’re a long-time fan or a newcomer, this record is sure to leave a lasting impression. Simply put, One Assassination Under God is one of Manson’s best works in a long time—and it’s impossible to ignore.