The point with a guy like Marilyn Manson is that once upon a time he managed to sock with an extreme look and controversial actions and videos, almost as many covers of well-known pop hits as original hits and a general vibe of “weird” that the disenfranchised post millennial youth seemed to associate with. In a society that turn more and more towards amorality and iconoclasm, he tries to retrace again what made him “famous” in the first place, but on his tenth album, this throwback of sorts, sounds tired and its pedantic nature, largely misses the point of making goth industrial rock people could “dance” to.
