The Antichrist Superstar makes a marked return to the music industry; following his 2015 hit The Pale Emperor, Marilyn Manson fully embraces his new sound. Will hardcore fans welcome this new side of the typically industrial rocker? In this double feature, I’ll look at both the debut single WE KNOW WHERE YOU FUCKING LIVE and the following KILL4ME.

Just over a week ago, Marilyn Manson released KILL4ME, the second single from his tenth album, Heaven Upside Down. For even the casual Manson listener, it’s quite clear that this is a distinctly different sound from his infamous ‘90s vibe; no longer following the tone present in all his most notable works, such as The Beautiful People and his cover of Tainted Love. The bassline is groovy, rather than disjointed, the vocals are rather clean for a Manson song, and in total honesty, it feels more mainstream than I would expect from a man known as the Antichrist Superstar. Still, it’s enjoyable and not totally disconnected from what we know and love about Manson.

It falls to me to rate this song out of five, but I’m stricken with the hard decision to rate this as a standalone song, or as something that is connected to a wider discography. As a standalone, this is a remarkably average song with no real increase in tempo or intensity, and reaches no climax; still, on every album, there is always at least one filler song. As a Manson piece, it marks lower for me. I have a great love and respect for the pop-culture destruction that Manson promotes, though this doesn’t feel like a song that he’d typically produce. Thus, I’m left with no other option than to rate this song;

2 / 5 Bytes.


Moving onto WE KNOW WHERE YOU FUCKING LIVE, the debut single from the album, I’m filled with more hope, and really something that I’d expect from Manson. Whilst not as heavy and gut-wrenching as his earlier works, this still has the distinctive distortion that is so familiar within Manson’s discography. Making up for the lack of chilling lyrics in KILL4ME, WE KNOW WHERE YOU FUCKING LIVE amps up the creep factor and returns to the terrifying nature of Manson’s musicality. Complete with Marilyn himself whispering into your ears at the end of the song, this piece is everything that KILL4ME lacked; the typical sound, the eerie vocals, and the heavy distortion all climaxing into what makes Marilyn Manson stand out within the music industry and keeps him great.

This song, for me, rates much higher than KILL4ME, both as a standalone piece, and a greater whole. I’m more than happy to give this song the rating it deserves, and it fills me with hope for the rest of the album to come. Well done Manson, you’re back in my heart.

4 / 5 Bytes.

Will Wilkins



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