The follow-up to “One Assassination Under God – Chapter 1“ continues the story, and musically, these two albums elevate Marilyn Manson‘s towering image as a rock artist. The songs may not be on the same scale as early albums like “Antichrist Superstar” and “Mechanical Animals”. The musical aesthetics are at their peak, offering many catchy songs and powerful riffs, especially for fans who enjoyed classic hits like “Tourniquet“, “Coma White“, and “Great Big White World“. These musical specimens of upbeat and downbeat riffs and synthesizers ebb and flow throughout the newest album.

His later studio work, like “Holy Wood (In the Shadow of the Valley of Death)” and “The Golden Age of Grotesque”, contained heavier, more sinister songs, nailing the modern sound of electro-industrial metal.

But if you enjoyed the cinematic, atmospheric, and innovative work of “One Assassination Under God – Chapter 1”, this album, however, offers heavier songs; in my opinion, it’s one of Marilyn Manson’s best albums.

The ominous atmosphere takes the listener into familiar musical landscapes of a brooding mood; the electronic textures may not be as dynamic, but you can’t dismiss the artistic palate and the well-placed rhythms and choruses. One thing this and the previous album lack is the signature gothic-drenched vocals, but the unique inspiration reshapes the music and reinvents the wheel with enough chill.  The opening track “Unalive” is one of the darkest songs; it begins slowly and shifts to a volatile tempo. The music dives into a darker mood, blending tempo transitions with heavier sections.

The guitar riffs and rhythmic sections are full of hooks on several tracks; explosive choruses on “Don’t Answer the Door”, “Front Toward Enemy” and “All the Vilest Things” are filled with industrial touches and pounding drum beats.

The album relies on fantastic electronic vibes and some 80s pop-sounding vocals to fit the atmosphere. The hooky guitar parts have a solid melody, but instead the album focuses on gothic glam aesthetics and industrial layering in tracks like “Lucifer’s Teardrop”. The drum patterns are present throughout, with solid rhythm and bursting groove, but they serve a modern sound overall. Musically, the songs lean toward heavier, memorable moments rooted in industrial rock.

The creativity lies in emotive guitar; while the album may sound less abrasive, the chorus effect is outstanding. The musical variations shine, with tracks like “None of the Suns” and “The Arsonist”. The slow, gloomy elements will instantly hook you with bizarre grandiosity; these songs offer booming guitar sections and plenty of loud guitar riffs; the music is stylish and in top form, offering a delicious palate.

The final two songs on the album, “Exit Wound” and “Enantiomorph”, take full guitar riffs; although the first may not offer much to fans, it’s a typical Marilyn Manson track; the latter delves into a brooding closure and runs the gamut of industrial and electronic elements, and you’ve got a recipe for the final track.

This is a renewed musical vision from Marilyn Manson, Gil Sharone, and Tyler Bates, who took their aesthetic in a different, more mature approach that ushers in a new epoch. “Chapter 2” is an excellent follow-up to “Chapter 1“, overall standing tall with Manson’s triptych fashion. The album has many atmospheric, ominous moments, emphasizing the distorted guitars, rich synths, and drums to craft effective compositions.

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