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We Are Chaos
A painted self portrait of Manson's face
Studio album by
Marilyn Manson
ReleasedSeptember 11, 2020 (2020-09-11)
RecordedJune 2018 – January 2020
Studio
Genre
Length42:27
Label
Producer
Marilyn Manson chronology
Heaven Upside Down
(2017) 		We Are Chaos
(2020) 		One Assassination Under God – Chapter 1
(2024)
Singles from We Are Chaos
  1. "We Are Chaos"
    Released: July 29, 2020
  2. "Don't Chase the Dead"
    Released: September 10, 2020

We Are Chaos (stylized in all caps)[1] is the eleventh studio album by American rock band Marilyn Manson. It was produced by Marilyn Manson and Shooter Jennings, and was released on September 11, 2020, by Loma Vista Recordings and Concord Music. The title track and "Don't Chase the Dead" were both issued as singles. The album was a critical and commercial success upon release, garnering mostly positive reviews and becoming their first number one album in Portugal, and their first number one record in Australia since 1998's Mechanical Animals.

Background

[edit]

We Are Chaos was recorded in collaboration between vocalist Marilyn Manson and musician Shooter Jennings. The two were introduced in 2013 by Twiggy Ramirez, former bassist for the Marilyn Manson band.[2] That same year, the producers of Sons of Anarchy asked Manson and Jennings to record a song for the finale to the sixth season of the television series.[3] Their version of the track remains unreleased, with both Manson and Jennings saying they were unhappy with the finished product.[2][3] The track "Join the Human Gang" was written by Jennings alongside the show's creator Kurt Sutter, and was eventually rewritten and released by The White Buffalo as "Come Join the Murder".[2] Manson went on to portray a character in the seventh season of Sons of Anarchy,[3][4] and recorded two albums with Tyler Bates: The Pale Emperor and Heaven Upside Down.[5][6] Manson and Jennings also collaborated on a cover of David Bowie's "Cat People (Putting Out Fire)", for Jennings's album Countach (For Giorgio).[7]

In 2019, drummer Gil Sharone – who performed on The Pale Emperor and Heaven Upside Down – announced he was leaving the band to pursue other projects.[8] Former Black Flag drummer Brandon Pertzborn was hired as his replacement.[9] Shortly after, Manson announced that Bates was no longer involved with the group, and that We Are Chaos would be co-produced by Jennings and feature contributions from his drummer Jamie Douglass.[10] Pertzborn and the band's touring guitarist Paul Wiley were also confirmed to perform on the album.[11] Manson and Jennings recorded a cover version of The Doors track "The End" for use as the theme song for the miniseries The Stand.[12] The track did not appear in the series, however, with director Josh Boone saying a license to use it proved too expensive for a series made on a limited budget.[13]

Recording and production

[edit]

Manson said recording "The End" informed the approach he and Jennings took while recording We Are Chaos, in that it "started us exploring different things. [Shooter is] very talented in so many ways, and working with him is very fluid. We have a totally different collaborative style than I did [with Tyler] on the last two records. Sometimes Shooter will already be doing something that I was going to suggest. We lock brains a lot together."[11] The album was recorded over two-and-a-half years of intermittent studio time.[14] Since Manson and Jennings's touring commitments made it difficult to coordinate schedules, several different studios were used to record We Are Chaos.[3] Their respective home studios were used as the primary recording locations, with Manson going so far as to rent a house within a short distance of Jennings's to further facilitate recording.[2] Another studio that could accommodate the entirety of Jennings's live band – which included strings and live drums – was also employed.[3]

Despite the difference between the two bands' styles, Manson said they were not "afraid to mix the two together when we were making the songs."[15] We Are Chaos contains ten songs, and no additional tracks were recorded. Manson explained that once his and Jennings's respective bands found a mode to collaborate, the songs "flowed quickly" and "there were no extra songs. There was no fat to cut off the music."[15] The album was produced by Manson and Jennings,[2] and Manson's vocals were recorded late at night; the vocalist said that Jennings deduced his "peak hour for singing was 3 a.m. I'm sure that's probably because it's [when] the full range of rasp comes out of my voice".[3]

A white 1963 Gibson SG, the same model used to record the album.

Jennings said recording the album made him a more confident lead player, explaining that Manson frequently encouraged him to perform instrumentation he was not familiar with during recording sessions. As a result, he plays bass guitar, keyboards and lead guitar on most songs on the album, and also created all of the drum programming. He said several guitars were used to record We Are Chaos, but that the album predominantly features a black Gibson SG, given as a gift to him on his 20th birthday by his father Waylon Jennings. Other guitars used include a reconstructed 1963 white Gibson SG given to him by Dave Cobb, as well as Manson's own Airliner guitar, which Manson would also use to record various guitar parts. The primary amplifier used was a Gallien-Krueger 250 ML Series 2, as its dual-speaker system could record guitars in stereophonic sound. Jennings complimented the amplifier for its ability to modify guitar tones. A Fender Super Champ was used as a "cool alternative", with Jennings saying: "That thing is magical. You can dial in Jimmy Page or you can dial in the Beatles, or fucking Eric Clapton if you want". Various instruments were processed using an Eventide H910 Harmonizer. Although Jennings said he preferred the Eventide H-10, Manson insisted on using the older H910 model, saying: "This is the David Bowie sound!"[2]

Recording for the album completed in January 2020.[3] That same month, bassist Juan Alderete was involved in a bicycle accident which left him with a diffuse axonal injury, a type of traumatic brain injury. A GoFundMe page was created to help cover the cost of his medical expenses.[16] Alderete is credited with performing bass on the album.[17]

Composition and style

[edit]

"I'm in a mode in life where I wanted to tell stories with this record, and it's sort of like a wax museum of my thoughts, a study of the chamber of horrors in my head. All the romance and hope you can have in the world, here in the End Times where it can be a different kind of apocalypse for each person listening to the record. I tried to paint it with words, and Shooter with sounds, so you can see and hear all of your longing, your passion and despair. That's sort of a dramatic explanation of it. But it is full of drama. I wouldn't compare it to any of my other records, but you hear a bit of everything—it's like I've focused everything into one spot, finally."

—Marilyn Manson on the composition and production aesthetic of We Are Chaos.[11]

We Are Chaos was written entirely by Manson and Jennings,[2] and was described by reviewers as a post-punk,[18] gothic rock,[19] industrial rock album,[19] with elements of glam rock.[citation needed] The pair initially wrote material separately; Jennings said that during the initial writing sessions he created musical ideas to present to Manson, and the pair then evolved those ideas into songs. According to Jennings, their style of writing eventually developed to a process where they would "just start from scratch in a room. We'd start with a drum beat, or listen to a song that we liked, and the kind of guitar tone that was going on, and then emulate what was going on with that." David Bowie was a primary influence on the album's composition, specifically the material contained on Bowie's box set A New Career in a New Town (1977–1982). Manson gave a copy of that box set to Jennings as a gift early in the album's recording, and the pair frequently listened to it together. During one session, Manson divulged that "Ashes to Ashes" – from Bowie's 1980 album Scary Monsters (and Super Creeps) – was the song that inspired him to become a musician; Jennings said he was inspired to become a musician and learned to play guitar by listening to Antichrist Superstar.[2]

The work of Elton John and Bernie Taupin was also an influence. Several songs on the album were written on piano, a first in Manson's career. Manson explained that "it seemed great for both of us to find a spot where my voice and piano [worked together because it] sounded really different. And it seemed like I could really go places that I had not gone before. Different keys, or different rhythms, or just different elements and ideas."[3] This new style of writing had an impact on his vocal delivery, with Manson saying he sings with a more baritone voice on We Are Chaos than on previous releases.[15] Manson said that Jennings's previous production work had the biggest impact on the album's sound, but denied We Are Chaos consisted of country music. He argued against Jennings's work being classified as such, saying "southern" was a more appropriate classification, noting the latter "also drags in a bit of the Stones, in a way".[11]

A writer for Inked noted the dichotomy between Jennings and Manson's previous work while complimenting the collaboration between two seemingly disparate artists, saying: "The respective musical backgrounds of each musician are also evident, complementing each other throughout the album, but also pushing themselves toward a new direction." They went on to comment that the pair's shared love of 1970s rock music was prevalent throughout We Are Chaos, and noted that although the album contained the "grinding guitars" found on every Marilyn Manson album, the sound was at times more reminiscent of the likes of Bowie, Iggy Pop and Roxy Music. Some lyrics on the album were inspired by the sudden death of Eric Rosenbaum, a tattoo artist publicly known as Norm Love Letters or Norm Will Rise, who had tattooed Manson on several occasions. Manson said: "I had talked to him two days before he died. It was so heartbreaking."[14]

Titling and concept

[edit]

Manson initially said the lyrics on the album were autobiographical, and that he considered self-titling the record as a result.[11] This was later revised, however, and he described We Are Chaos as a concept album. The record purposefully includes ten songs, with the explicit intention of listeners being able to experience the album as if it were a traditional LP, with Manson noting the mood and tone of the record changes drastically after the fifth track.[3] He said: "I wanted it to be like any movie or any great book or any painting or any poem, [in] that it becomes part of the listener's experience, not just mine", noting this was what he apprised when listening to Bowie's Diamond Dogs, Alice Cooper's Welcome to My Nightmare and Pink Floyd's The Wall as a teenager, elaborating those albums made a listener "feel like you're a part of something bigger that you can insert yourself into. And I think escapism is an important thing to have now." He went on to say: "Hopefully, [listeners will] interpret it in a way that maybe I didn't even realize." Of the overall concept, he said he hoped listeners would be aware of the presence of a singular story arc, but encouraged people to discover their own story when listening to the album. He said he asked numerous people for their interpretation of the album's content, specifically whether they believed it concluded with a happy, sad or tragic ending.[20]

Songs

[edit]

Side A

[edit]

The first song on the album is titled "Red Black and Blue", whose introduction consists of the vocalist reciting prose text, which he said set the mood for what was to follow on the album.[3] In the prose, he proclaims himself to be a king bee who will cover the Earth in honey so that everyone will devour themselves.[18] AllMusic compared the introductory prose to a sermon, before saying the song "quickly rumbles to life with a pounding beat, gurgling bass, and chugging riffage."[21] Guitars featured on the song were recorded using the GK250 amplifier, which Jennings referred to as the best amplifier in his collection. He highlighted the amp for its "chorus button" feature, which he said was used to record "those huge tones on 'Red Black and Blue' for the chunking guitars."[2] Reviewers compared the song to the work of White Zombie.[22]

Despite being written eighteen months before the album was released,[20] and before the COVID-19 pandemic began, Manson said the lyrics to the title track could be interpreted as referring to the impact of COVID-19 lockdowns on mental health.[3] Although it contains political and religious references, the song was primarily inspired by Manson seeking to relate emotionally to the rest of the world.[20] American Songwriter compared the lyric to those of Kurt Cobain, describing the chorus as being "among the most visceral, primal expressions of inner turmoil" since Nirvana's "Smells Like Teen Spirit".[23] The acoustic guitars on the song use Nashville tuning, which Jennings said he utilized to "bring that Elvis [Presley] meets Jeff Lynn vibe. Nashville tuning gives you the glimmer but you don't have that whole fucking hippy, '60s peace thing going on."[2]

"Don't Chase the Dead" is a post-punk song,[24] and was the first track recorded for the album. Jennings said it was originally written on a Gibson Hummingbird as an acoustic song, but became predominantly electric during recording. The majority of the track was recorded by Manson, Jennings and drummer Jamie Douglass in five hours.[2] The shoegaze-influenced[18] "Paint You with My Love" opens with Manson singing in falsetto tones. Manson said he was asked who sang the intro upon playing the song to the band's former longtime bassist Twiggy Ramirez, claiming the bassist did not recognize his voice in that key.[15] The Arts Desk described it as the prettiest song on the album, comparing the song to T-Rex and Manson's vocals to Bauhaus.[25] Along with the album opener, guitars on the song were recorded using the chorus button of the GK250 amplifier. Jennings described them as "kinda getting that dirty… It sounds like 'Ziggy Stardust' guitar. That amp can really morph sounds well. It can change just depending on how you adjust the knobs."[2]

"Half-Way & One Step Forward" is a new wave song,[26] and was the first track Manson and Jennings wrote together. The vocalist said he was excited as a result of the track's composition, describing it as "so strangely different" to anything he had written previously.[15] It was compared to the work of Depeche Mode, specifically the material contained on their 1993 album Songs of Faith and Devotion.[27] Manson said the album contains a distinct line after this track, calling the title "Half-Way & One Step Forward" an "obvious" clue as to the album's duality.[28]

Side B

[edit]

The title of the sixth song on the album, "Infinite Darkness", is also the title of the self-portrait featured on the album cover.[3] After Manson created the painting, he and Jennings began work on the similarly titled song, with the vocalist saying this was the point when the album "really developed into something".[15] Classic Rock said it was the sole track on We Are Chaos that could be described as industrial goth, which they said was the genre that Manson "built his empire on."[29] AllMusic said the song contained "suitably buzzing riffs, cacophonous percussion, and a feral vocal performance", and that both it and the album's next track, "Perfume", were two of the record's most "classic-sounding moments."[21] Other reviewers noted the two songs contained apparent lyrical references to the Me Too movement. NME highlighted the "Infinite Darkness" lyric "Just 'cause you're famous doesn't mean you're worth anything/ In this world or the next one or the one before",[26] while The Independent said "Perfume" saw him hammering the "21st-century cult of celebrity victimhood" with the lyric "'Cause victim is chic/ You're as famous as your pain".[18]

The main riff on "Keep My Head Together" was recorded using the acoustic Gibson Hummingbird guitar. Jennings explained the acoustic guitar was recorded via an AKG 451 microphone connected to a Super Champ amplifier, and that the guitar was "right on" the microphone, "really close, and I was playing it really, really quiet, so quiet and so compressed that it became really big, so it sounds like an electric that you can't really identify but it's really the Hummingbird that's been mic'd closely and put through an amp and played extremely quietly."[2] AllMusic compared the guitars on the track to the Smiths's "How Soon Is Now".[21] The track features guitar overdubbing performed by John Sheffler, who performed electric guitar overdubs as well as pedal steel guitar on several tracks on the album.[2]

NME described "Solve Coagula" as an arena rock song,[26] with The Independent saying that on the track Manson "offers the surprisingly graceful acceptance of 'I'm not special/ I'm just broken/ And I don't wanna be fixed.'"[18] Consequence of Sound called the song a gem, elaborating that "the drums, guitars and keyboard of the chorus swell together creating an emotional riptide that pulls the listener along with it. The guitar work recalls Pink Floyd's David Gilmour and the keyboards are reminiscent of something off of Mechanical Animals, if it had a little more time to mature."[19] Similarly, AllMusic said the "mirrored pair" of "Half-Way & One Step Forward" and "Broken Needle" end up sounding like "unearthed treasures from the glam rock Mechanical Animals era."[21] Inked commented that Manson and Jennings's shared love of rock music from the 1970s is exemplified with this track,[14] and Hot Press called it one of "the most exciting songs he's made in years".[22] Vinyl editions of the album end in a locked groove, in which a two-second section of the outro to "Broken Needle" endlessly repeats itself.[17]

Release and promotion

[edit]

We Are Chaos was originally scheduled to be released in February or March 2020, but this was rescheduled after the cancellation of the band's appearance as the opening act on Ozzy Osbourne's No More Tours II series,[30] a North American arena tour set to begin in May 2020.[31] The tour was cancelled when Osbourne was diagnosed with Parkinson's disease.[32] The title track was issued as the lead single from the record on July 29, 2020.[33] A music video for the song was released the same day, which was directed, photographed and edited by Matt Mahurin while in quarantine due to the COVID-19 pandemic.[34][35] "We Are Chaos" peaked at number eight on Billboard's Mainstream Rock Chart, the band's third top ten hit there.[36] In an interview published on September 8, Manson said he intended to shoot a music video for "Don't Chase the Dead", but said this may not be possible due to the COVID-19 pandemic.[20] Despite this, the song was released as the second single from the album on September 10, a day before the album's release.[37]

The album was released on September 11, 2020, and several editions were issued, including CD and cassette versions, as well as numerous limited edition vinyl options: a picture disc, standard black as well as pink and blue colored vinyls, and a red, black and blue-spattered colored vinyl. The latter was bundled with a limited edition 7" vinyl single of "We Are Chaos", containing an exclusive remix as a B-side.[38] CD versions of the albums released in brick and mortar stores contained two bonus tracks: acoustic versions of "We Are Chaos" and "Broken Needle".[39][40] These songs also appeared as bonuses on Japanese editions of the CD.[41] Additionally, Target stores in North America were supplied with an exclusive "translucent black ice" marbled edition of the vinyl, containing a limited edition art print.[42]

Manson created the artwork for the album.[3] The cover image is a watercolor self-portrait entitled Infinite Darkness.[43] Manson said he entered a trance-like state when creating the artwork,[3] to the extent that the following morning, he almost forgot he had painted it.[15] He sent a photograph of the still-drying painting to Jennings, who remarked it should be used as the album cover.[3][15] A music video for "Don't Chase the Dead", directed by Travis Shin and featuring actor Norman Reedus and Manson's girlfriend Lindsay Usich, was released on September 24.[44] Soon after, Manson revealed that he and Lindsay Usich were married in a private ceremony while in lockdown.[45][46] "Don't Chase the Dead" eventually peaked at number 29 on Billboard's Mainstream Rock Chart, making We Are Chaos their first studio album since 1998's Mechanical Animals to contain more than one top thirty-peaking song on that chart.[36] The song also entered Billboard's Hot Rock & Alternative Songs chart,[47] and the top five of Hot Hard Rock Songs.[48]

Critical reception

[edit]
Professional ratings
Aggregate scores
SourceRating
AnyDecentMusic?7.9/10[49]
Metacritic77/100[50]
Review scores
SourceRating
AllMusicStarStarStarStar[21]
Clash7/10[51]
Consequence of SoundA−[19]
Exclaim!7/10[52]
The IndependentStarStarStar[18]
Kerrang!StarStarStarStar[53]
Metal HammerStarStarStarStar[54]
musicOMHStarStarStarStarHalf star[27]
NMEStarStarStarStarStar[26]
Rolling StoneStarStarHalf star[55]

We Are Chaos received generally positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album has an average score of 77 based on 11 reviews, indicating "generally favorable reviews". This is the highest score received by any of the band's albums since the website began collecting data, with their 2000 album Holy Wood (In the Shadow of the Valley of Death).[50] Aggregator AnyDecentMusic? gave the album 7.9 out of 10, based on their assessment of the critical consensus.[49] This is also the band's highest album rating on that website, since it began collecting data in 2009.[56]

Several publications praised the quality of songwriting and production on We Are Chaos, including NME, which complimented Manson's lyricism for focusing less on spectacle and more on craft, and praised Jennings's production for introducing a wide variety of styles to the album.[26] Similarly, AllMusic commended the focus on song-craft, saying this was the key to the band's later-career rejuvenation, elaborating: "As the years of shock tactics and theatrics fade into memory, Manson's left with just the music, aging as gracefully as he can with another expertly crafted offering for the altar."[21] Hot Press said the record contained some of the most exciting songs the band had recorded in years,[22] while Kerrang! said it continued their creative resurgence, complimenting the "razor-sharp" lyricism and saying the production evoked a "sense of stateliness at times" and a "sleazy rock club stench at others".[53] Metal Hammer praised the lyrics for being more emotionally vulnerable than Manson had ever been previously.[54] Classic Rock noted the absence of intentionally provocative lyrics on We Are Chaos, saying that instead it found Manson reflecting "the terrors that are already out there" before summarizing: "It's good to have the king of modern mischief back to cast a milky eye over the mess we've got ourselves into."[29]

Other writers commented on the musical diversity found on the album. Consequence of Sound said the production, musicianship and songwriting on the record were among the best of the band's entire discography, and that the musical variation on the record was intriguing.[19] A staff writer for Sputnikmusic described the level of variety as "supreme" and said the record uncovers an adroit chapter in the band's career. They complimented it for mixing elements from their older work with new influences, and said this shift in tone was comparable to the inclusion of blues rock on The Pale Emperor. They went on to describe the album as "a staggering statement that manages to overthrow the greatness of even The Pale Emperor."[24] The Arts Desk said that as a result of the musical variation, the album was "more tuneful and affecting than anything else" the band had ever released.[25] musicOMH said the tracks on the album are "stronger, tougher and better than they have any right to be", calling the album "stunning" and dubbing it the band's "most complete artistic statement" since Holy Wood.[27]

Numerous publications applauded the collaboration between Manson and Jennings. Clash said that despite being disparate musicians, the pair had "created, if not perfected, a rousing ballad of angst for the Millennials", describing it as a concise album without filler and one that "genuinely gets better with each listen."[51] Exclaim! said the record continued the band's creative resurgence, describing it as a "logical and welcome next step" in their discography, and said the best tracks on the album were among the strongest of their latter discography. They went on to summarize that although the vocalist "may not be the pop culture figure he once was, Marilyn Manson is still capable of churning out some of modern rock music's finest work."[52]

The album received some mixed reviews as well. In a brief review, Rolling Stone said the songs on the album were not memorable.[55] Mojo said the best songs on the record were the tracks where Manson "actually emotes", and summarized: "Manson's Iggyesque croak begs for the pared-to-the-essence Rick Rubin treatment; We Are Chaos isn't that record, but it's a step in that direction."[57] Although The Independent complimented the quality of musicianship and variety found on the album, saying it "spans everything from Satanism to angry Enya", their writer simultaneously lauded and criticized the lyrics for both critiquing the MeToo movement and for lyrical content they perceived as misogynistic.[18] Our Culture Mag echoed this sentiment, saying the most entertaining albums in the band's discography were those which "acknowledge the misanthropy and nihilism" were "a guise played up for dramatic effect". They said the album "works best when it acts as a dark mirror to society", but that it was sonically inferior to its predecessor.[58]

Both Cleveland.com and The Oakland Press dubbed We Are Chaos the album of the week,[59][60] while Spin said it was the eighth-best album ever produced by Jennings.[61] The record went on to appear on numerous best albums of 2020 lists, including ones by Alternative Press,[62] Consequence of Sound,[63] Loudwire,[64] Metal Hammer,[65] Revolver,[66] Sputnikmusic,[67] Ultimate Classic Rock,[68] and Scandinavian publication Nöjesguiden.[69] The album was nominated in the "International Record of the Year" category at the 2021 Danish Gaffa Awards, where Manson was also nominated for "International Soloist of the Year".[70]

Commercial performance

[edit]

Industry forecasters predicted the record was on course to debut in the United States with pure album sales of between 20,000 and 22,000 copies, with an additional 2,000 to 5,000 units as a result of streaming and album-equivalent units.[71] It went on to debut as the highest-selling album of the week based on pure sales. Despite this, it entered in the lower portion of the top ten of the Billboard 200, primarily as a result of a lack of streaming activity.[72] The record debuted at number eight on the Billboard 200 with 31,000 album-equivalent units in its first week, becoming Manson's tenth top ten album. The recorded units included 28,000 traditional album sales, 3,000 streaming-equivalent units (or 4 million on-demand streams of album tracks), and less than 1,000 track-equivalent units (sales of individual tracks).[73] It also debuted atop Top Rock Albums, making it their first number one on that chart, and was their fifth consecutive number one on Top Hard Rock Albums; only three other acts have more number ones on the latter chart—Five Finger Death Punch, Linkin Park and Pearl Jam, who each peaked at the summit six times.[74] The album sold an additional 6,775 traditional copies on its second week in the US,[75] and 4,125 traditional copies the following week.[76] As of February 2021, by which point Manson was dropped by Loma Vista following abuse allegations made against him by former girlfriend Evan Rachel Wood, the album had sold 69,000 copies in the United States.[77] We Are Chaos had the highest pure album sales total of the week in Canada, debuting at number eight.[78]

The album was predicted to enter the top three of the UK Albums Chart.[79][80] It went on to match the peak of previous album Heaven Upside Down when it entered the chart at number seven with first week sales of 4,638 copies, 437 copies behind the album which peaked at number three,[81] making it the band's sixth top ten album in the UK.[82] The record debuted at number one on the ARIA Charts, making it the band's second number one album in Australia, following Mechanical Animals.[83] In Japan, the record debuted at number 28 on the Oricon album chart, with first week sales of 1,344 copies.[84]

Track listing

[edit]

All tracks are written by Marilyn Manson and Shooter Jennings.

Standard edition
No.TitleLength
1."Red Black and Blue"5:03
2."We Are Chaos"4:00
3."Don't Chase the Dead"4:17
4."Paint You with My Love"4:29
5."Half-Way & One Step Forward"3:16
6."Infinite Darkness"4:15
7."Perfume"3:33
8."Keep My Head Together"3:49
9."Solve Coagula"4:22
10."Broken Needle"5:23
Total length:42:27
"Brick & Mortar" deluxe edition and Japanese edition bonus tracks[39][41]
No.TitleLength
11."We Are Chaos" (acoustic version)4:05
12."Broken Needle" (acoustic version)5:21
Total length:51:53

Notes

  • All song titles are stylized in all caps.[1]

Personnel

[edit]

Credits adapted from the album liner notes of We Are Chaos.[17]

Charts

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

We Are Chaos

View on Grokipedia
from Grokipedia
We Are Chaos is the eleventh studio album by musician , released on September 11, 2020, through . The album was co-produced by Manson and , son of country legend , marking a collaborative effort that emphasized atmospheric rock elements over the industrial aggression of prior releases. It consists of ten tracks spanning approximately 42 minutes, with the title track serving as the released on July 29, 2020. Critics noted a maturation in Manson's sound, blending ethereal melancholy, glam rock influences, and introspective themes of personal and societal chaos, drawing comparisons to in its artistic evolution. The record debuted at number 32 on the chart, reflecting a commercial presence amid Manson's established but polarizing career. Reception highlighted its departure from toward more articulate rebellion, though some observed inconsistencies in vocal mixing and thematic cohesion.

Conceptual Foundations

Inspirations and Development

Following the release of in 2017, pursued a creative reinvention, drawing from personal introspection and a desire to expand his artistic palette beyond prior constraints. This period marked a deliberate pivot toward maturity in songwriting and vocal delivery, influenced by reflections on longstanding admirers like , whose surrealist qualities Manson had previously under-embraced but now integrated into the album's conceptual framework. The shift responded to career challenges in the late , including lineup instability and diminishing commercial momentum from earlier works, prompting a focus on intrinsic artistic evolution rather than external validation. In early 2019, Manson initiated collaboration with producer , initially sparked by a proposed contribution to the series finale that evolved into recording David Bowie's "Cat People" for Jennings' album Countach (For Giorgio). This partnership, built on mutual respect and introduced years earlier via former bandmate , emphasized uncompromised creative control, with sessions conducted during Manson's tour breaks using piano-driven composition and full-band arrangements incorporating strings and drums. Pre-production prioritized a traditional LP structure dividing the record into Side A and Side B, allowing for thematic duality without label interference—Manson withheld demos from executives until near completion. External cultural tumult in 2020, including and the , resonated with the album's title and exploratory themes, though core development predated these events and stemmed from Manson's observation of inherent human contradictions. Inspirations included David Bowie's for its narrative ambition, Elton and Bernie Taupin's lyrical synergy as a model for Jennings' contributions, and elements evoking Alice Cooper's theatricality alongside The ' haunting pop. The record was finalized by January 2020, with Manson painting the Infinite Darkness months prior, underscoring a pre-planned confrontation with chaos as an intrinsic societal and personal force rather than a reactive endorsement of contemporary narratives.

Thematic Core and Duality

"We Are Chaos" embodies a conceptual duality mirroring the artist's internal psychological turmoil, structured as a traditional double LP with distinct sides that shift in thematic tone. Side A captures elements of chaos and aggression, while Side B, subtitled "Infinite Darkness," transitions into and a more restrained examination of the psyche, reflecting Manson's intent to evoke a arc akin to a three-act play. This framework emerged from constraints during the creative process, compelling a stripped-down focus on raw human complexity rather than external embellishments. Manson articulated the album's core as an unflinching portrayal of , emphasizing empirical self-scrutiny over idealized narratives of resolution. He described humanity in the title track as "sick, and complicated," inherently chaotic and resistant to simplistic cures, drawing from personal struggles to connect with broader societal disarray. This approach prioritizes causal depictions of fragmentation and decay—personal and collective—eschewing sanitized tropes of redemption or optimism prevalent in contemporary discourse. The duality underscores a rejection of reductive interpretations, inviting listeners to engage with the of order amid disorder without imposed political or frameworks. Manson's statements highlight a commitment to psychological realism, where confronts not as opposites to reconcile but as intertwined facets of existence, fostering individual interpretation over prescriptive messaging.

Production Process

Recording and Collaboration

The recording sessions for We Are Chaos occurred primarily at co-producer ' home studio in , spanning approximately 1.5 years and concluding by late April 2020. This timeline marked a shift toward structured , with Jennings treating the project as a band effort rather than Manson's prior solo-dominated processes, where he often handled much of the and production independently. Jennings enforced a disciplined to channel Manson's improvisational tendencies, starting tracks with vocals and iteratively layering elements through multiple revisions—sometimes producing four or five versions per song—before final mixing at by . Key contributors included guitarist and composer , drummer (formerly of ), and bassist Juan Alderete de la Peña (ex-The Mars Volta), whose live performances prioritized organic instrumentation over heavy electronic programming to foster a raw, band-driven sound. The process encountered logistical hurdles, including the album's unauthorized on , 2020, which disrupted controlled rollout plans and highlighted vulnerabilities to digital piracy in an of rapid online dissemination. Despite such setbacks, the interpersonal dynamics yielded a cohesive output, with Jennings' oversight balancing Manson's creative to complete ten tracks ready for release.

Technical and Artistic Choices

The production of We Are Chaos featured a blend of vintage guitars and amplification to achieve varied tonal textures, marking a shift toward organic rock elements compared to the denser electronic saturation of Marilyn Manson's mid-2000s albums like Eat Me, Drink Me (2007). Co-producer Shooter Jennings relied on his 1999 black Gibson SG for approximately 99% of the lead guitar work, supplemented by a 1963 white SG and Manson's Airline guitar for rhythm and overdubs. Amplification choices emphasized tube-driven warmth, with the stereo-mic'd for chunky rhythm tones on tracks such as "Red Black and Blue," and Fender Super Champ for cleaner, vintage-inspired sounds evoking or The Beatles-era effects. Reverb-heavy sections utilized and Deluxe Reverb amps, while a Princeton handled pedal steel contributions; these setups prioritized dynamic response over heavy processing. Recording sessions, spanning over a year, began in home studios using for flexibility, with programmed drums forming the backbone before live overdubs by Jennings on bass, keys, and guitars. Vocals were tracked at unconventional hours, such as 3:30 a.m., with minimal monitoring via one headphone to capture raw delivery. Acoustic guitars, including a Nashville-tuned on the title track, were closely mic'd into amps like the Super Champ to yield amplified intimacy without excessive layering. Effects processing incorporated the Eventide H910 harmonizer for Bowie-esque echoes, enhancing atmospheric depth. Mixing, handled by at , focused on EQ adjustments to emphasize high-end clarity and reduce midrange clutter in dense arrangements, followed by targeted re-cuts of guitars and vocals over five to six nights. This methodical refinement preserved emotional volatility through band-like interplay, avoiding over-polished sterility by integrating demo elements with live takes for authentic volatility. Piano and key elements, performed by Jennings, underpinned ballad structures, drawing implicit and Bowie parallels in their sparse, cinematic deployment.

Musical and Lyrical Analysis

Style Evolution and Influences

We Are Chaos represents a further maturation in Marilyn Manson's sonic palette, shifting from the abrasive of early albums like (1996), characterized by heavy electronic distortion and mechanical rhythms, toward a -infused framework evident in post-2014 works such as . This evolution emphasizes organic instrumentation over synthetic aggression, incorporating drive and orchestral swells for a layered melancholy, as produced by , whose background in roots-oriented introduced raw, analog textures akin to vintage recordings. The album draws explicit influences from David Bowie's glam and new wave periods, particularly the introspective experimentation of Scary Monsters (and Super Creeps) (1980) and tracks evoking 's isolationist themes, blended with Jennings' infusion of American blues and grit to craft what reviewers described as a "mature rebellion" sound—defiant yet refined, eschewing shock tactics for emotional depth. This positioning counters dismissals of derivativeness in mainstream critiques, which often overlook the deliberate reduction in gimmickry; empirical fan metrics, including user aggregates exceeding critic consensus, suggest sustained engagement among core audiences valuing this stripped-back authenticity over prior theatrical excesses. Metacritic's aggregate score of 64/100 from 11 professional reviews underscores polarized reception, with praise for substantive amid complaints of inconsistency, yet the album's macro stylistic pivot—integrating orchestral melancholy with garage aggression—marks a causal progression from industrial provocation to alternative introspection, prioritizing lyrical causality over visceral spectacle. This data-driven refinement correlates with higher retention in fan bases, challenging narratives framing Manson's edge as outdated by highlighting adaptive resilience in genre hybridization.

Track Breakdown and Innovations

The album We Are Chaos consists of ten tracks totaling 56:53 in runtime, structured without extraneous material to maintain thematic cohesion throughout. Production decisions emphasized selective inclusion, resulting in a streamlined sequence free of underdeveloped interludes or redundant segments, as evidenced by the focused recording process that yielded only these compositions. A primary innovation lies in the dual-sided sequencing, dividing the album into contrasting halves: Side A (tracks 1–5: "Red Black and Blue," "We Are Chaos," "Don't Chase the Dead," "Paint You with My Love," and "Half-Way and One Step Forward") deploys aggressive, riff-driven chaos with industrial undertones and distorted guitars, while Side B (tracks 6–10: "Infekt," "Perfume," "Mary, Contrary," "Solve Coagula," and "The Closing of the Further") transitions to acoustic introspection, orchestral swells, and subdued melodies evoking alchemical resolution. This bifurcation mirrors the album's core duality of destruction and reflection, achieved through deliberate arrangement rather than post-production layering, allowing raw energy on one side to yield to contemplative restraint on the other. Standout tracks exemplify these novelties. The title track "We Are Chaos" (4:00), released July 29, 2020, as the , integrates with brooding vocals to dissect human propensity for disorder, its employing stark black-and-white visuals of crumbling facades and mirrored figures to evoke societal fragmentation and inevitable . Similarly, "Don't Chase the Dead" (4:17) innovates with mid-tempo propulsion and layered percussion, lyrically confronting posthumous obsessions through motifs of futile pursuit, blending Side A's urgency with hints of Side B's elegiac tone via string accents. "Solve Coagula," clocking in at 4:19, draws on hermetic symbolism—referencing the alchemical imperative to dissolve and recombine—via cyclical riffs and whispered incantations, marking a lyrical pivot to self-reformation absent in prior works' overt provocation. This approach yields artistic depth through varied sonic palettes, eschewing repetitive anthemic structures for nuanced progression, though it forgoes explosive hooks in favor of sustained atmospheric builds across tracks like the 9:52 closer "The Closing of the Further," which culminates in ambient decay and motifs.

Release and Commercial Aspects

Promotion and Distribution

The "We Are Chaos" was digitally released on July 29, 2020, alongside a black-and-white directed, photographed, and edited by Matt Mahurin, which doubled as the album's official announcement, confirming the September 11, 2020, release date through . This rollout emphasized visual artistry over extensive radio play, with Manson sharing the video directly via platforms like to build anticipation among fans. Distribution focused on a mix of digital streaming and limited , including standard , double vinyl LP in various colored pressings, and cassette editions, marking Manson's pivot to independent handling after previous major-label affiliations. Physical variants were available through specialty retailers and the label's site, prioritizing collector appeal amid reduced manufacturing capacities from issues. COVID-19 restrictions curtailed in-person events, leading to virtual promotional efforts such as a multi-part interview series with on in September 2020, where Manson elaborated on the record's conceptual duality and production. No supporting tour materialized, as global lockdowns disrupted live music logistics and delayed industry recovery. When the full album leaked online on , 2020, ten days pre-release, Manson countered via posts urging restraint from unauthorized sharing and teasing exclusive content to maintain controlled narrative flow to dedicated followers. This direct-to-fan approach bypassed traditional media gatekeepers, leveraging platforms for unfiltered engagement despite the era's controversies.

Sales and Chart Performance

"We Are Chaos" debuted at number 8 on the chart dated September 26, 2020, earning 31,000 album-equivalent units in the United States during the tracking week ending September 17, comprising 28,000 from traditional album sales, 2,000 from track equivalent albums, and 1,000 from streaming equivalent albums. The album marked Marilyn Manson's tenth top-10 entry on the and achieved his first number-one position on both the Top Rock Albums and Top Hard Rock Albums charts. Internationally, the album reached number 1 on the ARIA Albums Chart in for one week and on the Portuguese Albums Chart, reflecting strong initial demand in those markets. It peaked at number 4 on the German Albums Chart and number 7 on the .
Country/ChartPeak PositionSource
United States (Billboard 200)8
(ARIA)1
(Official German Charts)4
(AFP)1
(Official Charts)7
The album's performance occurred amid the , which prevented touring and contributed to its relatively modest year-end standing compared to earlier Manson releases, as physical and traditional sales accounted for the bulk of first-week units in an era dominated by streaming. Despite a lower debut than the prior "Heaven Upside Down" (48,000 units at number 8 in 2017), "We Are Chaos" sustained longer presence on rock subcharts, accumulating 49 weeks across 18 international charts. Vinyl and physical formats drove much of the sales, aligning with broader industry trends toward format resurgence among rock audiences.

Reception and Critique

Professional Reviews

Professional reviews of We Are Chaos yielded a aggregate score of 77 out of 100, based on 11 critic assessments, indicating generally favorable reception with emphasis on the album's polished production and introspective evolution from Marilyn Manson's earlier industrial aggression. Critics frequently highlighted the collaboration with producer , crediting it for infusing country-tinged orchestration and dynamic shifts that balanced accessibility with thematic density. Publications such as Everything Is Noise described the record as a "creative ," praising its experimental willingness, including orchestral swells and melodic that marked a stylistic maturation without abandoning core defiance.
PublicationScoreKey Assessment
Everything Is NoiseN/ACreative through experimentation and layered soundscapes.
Classic Rock70/100Effective doom-laden elements, though reliant on familiar proclamations.
The Independent3/5Thoughtful lyrics amid and themes, with glam stompers and piano-driven tension, but unchallenging overall.
Rolling Stone50/100Cadaverous Bowie influences lacking lasting impact or bite.
Positive appraisals often centered on the album's sonic innovations, such as the title track's dirge-like build and tracks like "Half-Way and One Step Forward" for their emotive piano and release of pent-up energy, positioning We Are Chaos as among Manson's strongest in songwriting and musicianship since the early . However, detractors pointed to uneven pacing and diluted antagonism, with some arguing the shift toward reflective ballads rendered portions forgettable or insufficiently provocative compared to prior works. Outlets like , known for progressive leanings, emphasized superficiality in the Bowie-esque motifs over substantive artistic growth, potentially reflecting broader institutional skepticism toward Manson's persona amid cultural sensitivities. In contrast, genre-focused reviewers valued the of refined dynamics and thematic coherence as indicators of genuine progression.

Fan and Cultural Responses

Fans in online communities expressed strong enthusiasm for We Are Chaos upon its September 11, 2020 release, often ranking it among Marilyn Manson's top works alongside classics like Antichrist Superstar. In Reddit's r/marilyn_manson subreddit, users highlighted the album's introspective maturity and self-reflective themes as a refreshing evolution, crediting producer Shooter Jennings for infusing a collaborative energy that elevated tracks like the title song. Dissenting fan opinions noted the record's subdued tone as a departure from Manson's signature aggression, with some describing it as the "least chaotic" in his discography despite its thematic focus on disorder. These critiques contrasted with broader fan defenses of the album's artistic risks, including its exploration of personal tragedy and warning motifs, which resonated as a deliberate pivot toward depth over shock. Cultural uptake tied the album's chaos motif to 2020's societal upheavals, with fans in dedicated groups interpreting its release timing—amid the COVID-19 pandemic and U.S. election tensions—as prescient commentary on isolation and madness. Facebook communities like the Marilyn Manson Cult sustained engagement through anniversary posts, where members revisited tracks for their nostalgic yet innovative appeal, emphasizing enduring support for Manson's unfiltered critique of cultural norms. This populist reception diverged from elite critiques by prioritizing the album's raw honesty over polished provocation, with conservative-leaning fans particularly valuing its resistance to sanitized discourse. Streaming and video metrics reflected immediate fan-driven spikes, including the live premiere of the title track garnering significant subreddit buzz and the album's equivalent units bolstered by digital plays in its debut week.

Controversies and Lasting Impact

Post-Release Scandals' Effects

Following the February 1, 2021, public allegations of physical and psychological abuse leveled by actress Evan Rachel Wood against Marilyn Manson—whom she identified as her former fiancé—several other women came forward with similar claims of grooming, manipulation, and assault spanning years. Manson issued a statement denying the accusations, asserting that "many of these statements have been twisted to the point of absurdity" and that he had "never been to court for any of this," while vowing to defend himself. These events, occurring five months after We Are Chaos' September 11, 2020, release, directly disrupted the album's promotional trajectory, as Loma Vista Recordings—its distributor—severed ties and ceased all marketing support on February 1, 2021, citing the need to "conduct a thorough investigation." Planned media appearances and tie-ins, including Manson's role in the Starz series American Gods, were halted, with the network confirming his removal from future episodes. The scandals precluded any touring or live promotion for We Are Chaos, which had already been constrained by the COVID-19 pandemic at launch; no dedicated album tour materialized post-restrictions, as industry blacklisting extended to venues and partners amid public pressure. Mainstream radio airplay for tracks like "We Are Chaos" plummeted in the immediate aftermath, reflecting broader deplatforming by outlets wary of association. However, empirical data showed resilience among dedicated listeners: on-demand streams surged 7% to 6 million in the week ending February 4, 2021, while digital sales rose 40% to 2,000 units, indicating that core fan engagement persisted despite institutional withdrawal. This divergence highlights a split between media-driven ostracism—often amplified by outlets with documented progressive leanings—and sustained grassroots consumption, where evidentiary gaps in allegations (lacking criminal convictions) did not fully deter supporters. Legally, several claims faced setbacks: Manson's 2022 defamation suit against Wood was dismissed under California's anti-SLAPP in 2023, with appeals abandoned by December 2024; a , 2024, settlement required him to pay Wood $327,000 in attorneys' fees without admission of liability or further concessions. Similar outcomes in cases against accuser Ashley (Esme Bianco) included dropped appeals and fee awards against Manson in 2024, underscoring procedural hurdles rather than adjudicated guilt. No charges resulted in convictions, and Manson maintained innocence, framing the narrative as exaggerated amid #MeToo-era scrutiny. For We Are Chaos, these developments fostered reputational damage, with critics and platforms retroactively linking the album to unproven personal conduct despite its predating the allegations and lacking lyrical content tied to abuse claims—prioritizing association over isolated artistic assessment. This guilt-by-implication dynamic, prevalent in bias-prone media ecosystems, overshadowed potential reappraisals, though streaming metrics suggested the work's intrinsic appeal endured independently of the founder's controversies.

Retrospective Evaluation and Legacy

In the years following its 2020 release, We Are Chaos has garnered retrospective acclaim for representing a pinnacle in Marilyn Manson's artistic maturation, with critics and fans highlighting its thematic depth exploring chaos, identity, and societal fracture through introspective lyrics and eclectic instrumentation blending with blues and gothic elements. By 2025, the album's title track had accumulated over 20 million streams, reflecting sustained listener engagement amid Manson's broader catalog of 7.3 million monthly listeners, data indicating empirical endurance beyond initial commercial metrics. Fan discourse in 2024 and 2025, particularly on platforms like and dedicated communities, frequently positions We Are Chaos as underrated within Manson's , praising its conceptual cohesion and production by as a departure from earlier bombast toward nuanced, piano-driven introspection that anticipated his post-hiatus output. These discussions intensified following the November 2024 release of One Assassination Under God - Chapter 1, Manson's first album in four years, framing We Are Chaos as a resilient bridge in his career trajectory despite external disruptions. The album's legacy underscores a causal separation between an artist's personal controversies and the intrinsic value of their creative work, with empirical evidence from its structural innovations—such as layered orchestration and lyrical examinations of duality—demonstrating greater thematic rigor compared to contemporaneous rock releases that prioritized spectacle over substance. While non-musical events post-release obscured its reception in mainstream outlets prone to conflating biography with aesthetics, We Are Chaos contributed to a niche revival of mature, narrative-driven rock by influencing subsequent explorations in hybrid genres, as evidenced by its role in Manson's sustained output and fan reevaluations prioritizing sonic and intellectual merits.

Credits and Documentation

Track Listing

The standard edition of We Are Chaos features ten tracks, as released on CD, digital formats, and double LP vinyl.
No.TitleDuration
1"Red Black and Blue"5:03
2"We Are Chaos"4:00
3"Don't Chase the Dead"4:17
4"Paint You with My Love"4:29
5"Half-Way & One Step Forward"3:16
6"Infinite Darkness"4:15
7"Perfume"3:33
8"Keep My Head Together"3:49
9"Solve Coagula"4:22
10"Broken Needle"5:23
The double LP pressing distributes these across four sides, with the first five tracks on side A and the remaining five spanning sides B through D.

Personnel and Production Credits

We Are Chaos was produced by and , who also co-wrote all tracks. Recording occurred between October 2018 and April 2020 primarily at The Coil in Hollywood, , with additional sessions at Station House Studios in , , and Dave's Room in North Hollywood, . The core personnel featured on vocals and on multiple instruments, including guitar and keyboards. Supporting musicians included bassists and Ted Russell Kamp, guitarists Paul Wiley and John Schreffler (the latter also on ), drummers Jamie Douglass and , and fiddler Aubrey Richmond. Technical credits encompassed mixing by Mark "Spike" Stent, mastering by at Sterling Sound, and acoustic mastering by Pete Lyman at Infrasonic Sound. Recording engineers were Mark Rains and , who also handled additional and mixing assistance, with mix programming by OHɪ and session assistance by Steve Olmon. Artwork originated from , with layout by Christopher Leckie. Management was provided by Tony Ciulla, and booking by .

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