WE ARE CHAOS＜Black Vinyl＞

混沌の時代に解き放たれる、ニュー・アルバム!!
前作『Heaven Upside Down』より3年ぶりとなる11作目、ついにリリース!!

時代の光と闇の狭間で舞うようなマリリン・マンソンの世界はさらに深化!サザン・ロック/カントリーのアウトロー・アーティスト、シューター・ジェニングスを迎えて制作、パンデミック以前に完成していたというアルバムの全貌がついに明らかに!現代の闇を正面から見据える一大傑作!

ジャケット・イメージは、世界中のギャラリーや美術館で作品が展示されているというマリリン・マンソンが本作をイメージして描いた「Infinite Darkness」。

混沌の2020/2021を象徴する1枚になること間違いなし!

Extending a late-era artistic renaissance with his 11th album We Are Chaos, Marilyn Manson goes three-for-three with his Loma Vista output, delivering yet another taut set of catchy earworms that retains enough of his peak-era trademarks while continuing his unexpected late-stage evolution. This time around, the elder goth statesman parts ways with creative partner Tyler Bates -- the man who assisted Mansons late-2010s comeback efforts The Pale Emperor and Heaven Upside Down -- and connects with outlaw country musician Shooter Jennings. For those expecting this to be a boots-and-beer makeover, rest assured that Jennings doesnt change the formula too much, sprinkling just the right amount of Nashville dust into the mix to color Mansons usual corrosive, ghoulish sound. Still, those moments -- like the mirrored pair of Half-Way & One Step Forward and Broken Needle -- simply end up sounding like unearthed treasures from the glam rock Mechanical Animals era. Manson kicks off Chaos from atop his weathered pulpit, delivering a purposely spooky but reliably inscrutable, spoken word sermon that quickly rumbles to life with a pounding beat, gurgling bass, and chugging riffage. That track, Red Black and Blue, hits a raging sweet spot, joining Perfume and Infinite Darkness as the albums most classic-sounding moments. While the former evokes The Pale Emperors rollicking blues-rock bluster in the best way, the latter introduces the albums de facto Side B with suitably buzzing riffs, cacophonous percussion, and a feral vocal performance. Beside these diehard-pleasing cuts, We Are Chaos also delivers plenty of hauntingly beautiful revelations. On Dont Chase the Dead, icy Depeche Mode synths, 80s power ballad majesty, and a gorgeous chorus combine to paint Jennings influence in thick black eyeliner. Later, atmospheric guitar licks reminiscent of the Smiths How Soon Is Now? are twisted to serve Mansons angst and frustration on the smoky groover Keep My Head Together. Beyond these standouts, the most unexpected moment on the album comes with the Love and Rockets-inspired lead single We Are Chaos, which shocks not with the typical Manson scare-and-offend schtick, but because its actually quite good. By far the poppiest moment in his catalog, this surprise is a jarring, subversive anti-anthem that sounds almost inspirational until the nihilistic lyrics sink their teeth in. That focus on songcraft has been the key to his rejuvenated Loma Vista material and why its such a delight to hear after three decades as hard rocks go-to bogeyman. As the years of shock tactics and theatrics fade into memory, Mansons left with just the music, aging as gracefully as he can with another expertly crafted offering for the altar. ~ Neil Z. Yeung

3年ぶりになる11枚目は、サザン・ロック/カントリー系シンガーのシューター・ジェニングスを共同プロデューサーに迎えて制作したもの。中身はコロナ以前に完成していたらしく、毒々しいヘヴィネスを放つ一方、アコギや鍵盤を効果的に活かしたメランコリックな作風が目立つ。デヴィッド・ボウイ風味の"Paint You With My Love"、哀愁漂う雄大さに包まれる"Broken Needle" など聴くたびに味わいが増す逸品だ。
bounce (C)荒金良介