As the album title suggests, The High End of Low finds Marilyn Manson at a peculiar crossroads in his career. While it isn’t a total disaster, it’s certainly far from his best work. There are a few standout tracks that truly capture the essence of what Manson is known for, offering glimpses of the shock rocker at his peak. These moments inject some much-needed energy into the album, reminding listeners of the iconic style that made him famous.

However, the rest of the album feels somewhat lackluster. While none of the tracks are outright bad, they generally fall into the “just okay” category. Many of them seem to lack the edge or depth that would have made them memorable, leaving the impression that they could have been stronger with a bit more polish and creativity. Some of the songs seem to drag on unnecessarily, with long run times that dilute their impact. Cutting 30 seconds or so from certain tracks could have improved the overall flow and made the listening experience feel more engaging.

The production on this album is another point of contention. It has a certain rough, mid-2000s garage rock vibe, but with a heavy gothic overlay that often feels more theatrical than truly haunting. The mixing and layering are hit-or-miss; at times, the sound is intriguing and atmospheric, but there are moments when the distortion and effects feel overdone, almost crossing into campy territory. It’s a strange blend that doesn’t always land well, leaving the album in an awkward middle ground between experimental and muddled.

Ultimately, The High End of Low feels like an album every artist has to make at some point—one that isn’t necessarily terrible but is certainly a far cry from their best work. It’s the kind of album that showcases an artist searching for something new while struggling to recapture the spark that once defined their career. In this case, it truly lives up to its title: the high end of low.