Heaven Upside Down

Idioma disponível: inglês

Who is still afraid of the big bad wolf Manson? Not many people, it seems, but you have to admit that, since his jaw-dropping début almost twenty years ago, and his avalanche of controversies, lots of things have changed. Music like his, as well as that of other extreme groups or artists, has lost its power to terrify the masses. Over the course of 25 years, the man has tried almost everything, following the example of his good friend Trent Reznor, another stage villain from the old days. He has tried to be more consensual here and more avant-garde there, but he seems to have paid a high price for his years of provocations. There are only a few stinkers in his imposing discography, but it is a fact that he tends to get less of a respectful hearing than the majority of musicians of the same genre, with Reznor out in the lead. Nonetheless, The Pale Emperor (2015) returned him to the top of the heap, and this tenth album drives in the nail even further (into the cross?). Although it's a difficult balance to strike, the major pitfall is returning to a "futuristic music from the past", without giving the impression of warming up a dish that's long past its sell-by date. It is clear that the self-proclaimed God of Fuck wants, above all, to recall, in the most shrill and vindictive way he can, the real revolution that he carried out with Portrait Of An American Family and Antichrist Superstar. About half of Heaven Upside Down, with JE$U$ CRI$I$ or We Know Where You Fucking Live, which are of the same calibre as other Manson classics, could just as well have featured on his first productions. As for the rest, he returns, almost humbly, to his first, more rock-influenced musical instincts (Tattooed In Reverse, Blood Honey, Threats Of Romance) or carries out some – too-rare – experiments (Saturnalia, SAY10). But overall, and more even than its predecessor, Heaven Upside Down is an album by a more human Manson who is in control. Over the past ten years, that has not always seemed to be the case. We could even add "more balanced", although he might well take that as an insult. His accomplice Tyler Bates certainly has a big hand in this successful update: the composer-guitarist has brought his solid experience with audiovisual work (we owe to him the soundtracks on a whole host of series, video games or films, including Killer Joe, Punisher, Guardians Of The Galaxy, John Wick, Californication, Salem…). Manson seems to be in good hands, and long may this continue. © JPS/Qobuz