Sam R I – “12 Monkeys” review

Sam R I is a 31 year old MC & producer from San Diego, California who first emerged within the west coast underground off his first 4 EPs Purple Cashmere, Rush Hour, Nickz & more recently Stax Payne over the summer. However after William Bostick heard Sam’s verse on “Rise in Winter Crime (Brrrrr)” off the Christmas EP that XP the Marxman put out last winter ‘Tis the Season, the New York producer has been brought in to produce Sam’s official debut album.

“Been a Buck” rawly sets it off by letting it be known he’s been the same from the very jump whereas “2 Types” incorporates some vibraphones to discuss the kind of people who say it without actually putting in the effort & the ones who actually do it. “TGFF” takes the boom bap route instrumentally showing off his storytelling abilities while “Art Basil in Spain” featuring Chester & Doza the Drum Dealer finds the trio coming together for a hardcore joint with a hook delivered in Spanish.

Meanwhile on “Blockbuster”, we have Sam on some more kicks & snares talking about letting shots ring out from the Benz just before “Freemason” after the titular interlude hooks up a soul sample to run the game as if he’s a part of the world’s first & largest fraternal organization. “Stick Up Kids” featuring 7ven 30 suggests their pen-games being Godly due to living in Hell, but then “Filthy” returns to the boom bap & lets his paper stack.

“Cul-De-Sac” featuring Kahlee nears the conclusion of 12 Monkeys needing a bigger truck with the work they be moving clarifying that there’s only 1 way out of the street or passage that’s closed 1 end while “Guilty” boasts his tax brackets being colder than Grand Rapids during the winter. “Take Time” finishes the LP on a more introspective note venting about the shit he’s dealing with whether it be his cousin possibly never walking again & a homie doing time behind bars.

In the 6 & a half years that Sam R I’s been around dropping projects, 12 Monkeys takes it above & beyond all expectations set by the small handful his previous EPs he had given us up until this point & culminating in a full-length debut showcasing the west coast lyricist’s elevation since 2018 on top of east coast production standing out in being amongst the best of William Bostick’s career thus far.

Score: 4/5

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Sparkz – “Full Circle” review

Highly anticipated debut album from Manchester, England, United Kingdom emcee/producer Sparkz. A member of the LEVELZ collective & co-fronting The Mouse Outfit, he would later make appearances on projects like Verb T’s 8th album Good Evening & Pitch 92’s debut EP Lost in Space until Fliptrix signed Sparkz to his historic Hove, East Sussex underground imprint High Focus Records dropping the self-produced Overload following the Angle trilogy of EPs in preparation of Full Circle.

After the intro, the heavenly boom bap flavored title track talks about what goes around coming around in this world whereas the 2nd single “Start & Show” combines these luxurious piano chords with kicks & snares calling for the attention of all advising those offended to cry him a river. “Never” goes for a funkier vibe talking about not having to step back just before the smooth “Overnight” featuring Coops marks my favorite guest appearance of the 3 discussing their souls staying aligned.

“Got This” works in some more piano-driven boom bap instrumentation for a lead single talking about staying in the game now that he’s no longer sitting on the bench leading into the dustily summery “Supposed to Be” speaks of this breather he’s been looking for making time move slowly for him. The 3rd & final single “Genius” blends jazz rap & boom bap together for an aggressive look at his witty penmanship while “Can’t Limit” featuring oskarcw0 talks about the blessin’ of big steppin’ over keys, kicks & snares.

Starting the LP’s final leg, “Glass House” opens up regarding him losing money & eventually getting it bag while “Team Set” featuring Voodoo Black comes together to fire 3 hardcore verses over a fusion between boom bap & lo-fi hip hop. “Say” instrumentally honors the late J Dilla’s legacy telling people to spew whatever they want about him & after “Where We At” talks about cherishing memories with every act, “Got Me Here” soulfully ends with Sparkz looking to leave the whole scene shook.

Introducing himself as a solo artist by putting his dexterity in the limelight with the Overload extended play, I can’t complain that Pitch 92 fully produced Full Circle because it was really a matter of time given his & Sparkz’ history apart of The Mouse Outfit for over a decade already. A few guests join the latter during a few instances contrasting Overload having no features at all, made up for by Pitch 92’s buttery production & Sparkz’ confidence balancing elements of the timeless & new.

Score: 4/5

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Mickey Diamond – “Gucci Gambinos” review

Detroit, Michigan lyricist & one of the finest in the underground currently Mickey Diamond returning for his 14th LP. Emerging at the beginning of 2020 off the strength of his debut EP Bangkok Dangerous, the dude has since gone on to turn quite a few heads in the underground by building up the impressive discography for himself with his previous 13 albums alongside 7 EPs & a mixtape. But for the past year, Mickey has been consistent putting out some of the best material of his career thus far. This includes the Gucci Ghost album & it’s sequel produced by Big Ghost Ltd., the Ral Duke-produced Oroku Saki EP, the Sadhugold-produced Death Threat$ album, the Camoflauge Monk-produced Capital Gains album or the the 3rd & 4th installments to the Gucci Ghost saga this past winter. Diamond & Ral Duke got back together for the outstanding Oroku Saki sequel Super Shredder & only 3 months after It’s 5:00 Somewhere, he & Big Ghost are linking back up for Gucci Gambinos.

“Fruits of Wisdom” featuring Pro Dillinger perfectly opens things up by hopping over an orchestrally drumless instrumental referencing former AJPWオール・アジア・タッグチャンピオン, 世界ジュニアヘビー級チャンピオン, KO-Dタッグチャンピオン, FMWインディペンデントワールド世界ジュニアヘビー級チャンピオン, 2-time IWGPジュニアタッグチャンピオン, GHCジュニアヘビー級タッグチャンピオン & current 新日本プロレス Jr. Heavyweight タカみちのく of the ジャスト・フォー・ガイズ unit whereas “Word Bond” works in a sample-driven boom bap beat responding to everyone saying he ain’t outside.

Pro Dillinger returns on the soulful rock crossover “Green Paper” promising that the money will come if you keep pacing leading into “Truth or Dare” featuring Method Man taking it back to the basement instrumentally so they can talk about getting killed in the 313 & the 718 respectively advising to use y’all heads. “Speedknot” hooks the sampling back up for only a minute to make way for Diamond to shrug off these funny muhfuckas, but then the classy “Ice Cubes” talks about weatherin’ the storm & whippin’ out the pyrex.

“The Untouchables” featuring Pro Dillinger aggressively reaches the halfway point calling out those believing in their favorite rappers saying they finessed bricks when they were legitimately bullshittin’ just before the duo stick around for “A Man with a Dream” bringing the soul samples back cookin’ the dope up & baggin’ it in less than 80 minutes. “Cold Summer” gives off more of a solemn vibe to the beat reflecting on having the whole block in a submission chokehold prior to Pro Dillinger returning on “Rusty Blades”, promising to shoot back if they shoot 1st.

Getting the final leg of Gucci Gambinos going, “The Last Gangster” mixes a vocal sample with kicks & snares to talk about it being another day & another dollar while the song “Rockin’ a Gold Tooth” pays homage to the iconic Wu-Tang Clan single “C.R.E.A.M. (Cash Rules Everything Around Me)”. The title track featuring Pro Dillinger gets together for an orchestral boom bap joint kin to “Wu-Gambinos” & finally, “Crime Paradise” also featuring Pro Dillinger finishes the LP with both of them rawly breaking down their exquisite lifestyles.

Ghost & Diamond achieve their mission of restoring a feeling by taking equal inspiration from Raekwon’s solo debut Only Built 4 Cuban Linx…, early Hong Kong action movies, Martin Scorsese & Francis Ford Coppola films, the Avirex & Pelle Pelle fashion brands & finally the 90s dopeboy money gettin’ era. Pro Dillinger’s verses feel reminiscent to Ghostface Killah’s on OB4CL & it feels like the listeners are reliving or experiencing for the first time what it was like at the peak of the golden era of hip hop culture.

Score: 4.5/5

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Kendrick Lamar – “GNX” review

Compton emcee, songwriter & actor Kendrick Lamar surprise-releasing his 6th studio LP outta nowhere ahead of his Super Bowl LIX halftime show in a few months. Coming up in ‘04 off his debut mixtape Y.H.N.I.C. (Youngest Head N***a in Charge): Hub City Threat (Minor of the Year), he would go on to follow-up with 2 more tapes as well as an eponymous debut EP before breaking out in the fall of 2010 off his 4th mixtape O(verly) D(edicated) & then Section.80 that next summer. Then came him signing to Dr. Dre’s very own Interscope Records imprint Aftermath Entertainment, where Kendrick made himself home at for a decade. Especially given that good kid, m.A.A.d city & To Pimp a Butterfly have quickly become some of the most beloved hip hop albums ever made in their own rights for good reason whether it be gkmc coming off as a hood movie on wax or TPaB delivering relevant social commentary on top of jazzy, funky production. DAMN. however was definitely his most commercial one yet & I don’t listen to it as much as his other work, but it’s still a great listen nonetheless with its phenomenal duality concept. Mr. Morale & the Big Steppers fulfilled his Top Dawg Entertainment/Aftermath contract with a mature 2-disc effort, resulting in pgLang signing with Interscope for distribution. His beef with Drake this year has been absolutely prolific on his side from “euphoria” to my favorite “meet the grahams” & of course “Not Like Us”, returning a week ahead of Thanksgiving by pulling up in a GNX.

“wacced out murals” is this trap intro talking about Drake fans fucking up a mural of his in Compton a couple months ago additionally refusing to squash it with Drake himself, WWE Hall of Famer Snoop Dogg reposting “Taylor Made”, feeling like his hard work let Lil Wayne down & Nas being the only person to congratulate him for the Super Bowl LIX halftime show whereas “squabble up” takes the hyphy route instrumentally to talk about walking in & later walking out both sides. “luther” samples “If This World Were Mine” by Cheryl Lynn & Luther Vandross thanks to Jack Antonoff, Kamasi Washington & Sounwave envisioning a world where pain & conflict are eradicated prior to the calming “man at the garden” talking about deserving it all when he absolutely does.

Meanwhile on “hey now”, we have Kendrick & Dody6 over a ratchet instrumental from none other than DJ Mustard boasting that they’re way too important just before my 2nd favorite track “reincarnated” flips “Made N****z” by 2Pac letting off concentrated thoughts on who he used to be & putting 100 hoods on 1 stage at the Pop Out show this summer. “tv off” serves as this 2-parter with the 2nd half standing out the most explaining that someone gotta do something about these muhfuckas actin’ bad out here with only a few real ones left, but then the atmospherically funky “dodger blue” with co-production from Terrace Martin talks about the westside getting the money.

“peekaboo” featuring AzChike & Dody6 nears the end of GNX by getting back on the nervous tip dissin’ everyone for talkin’ a whole lotta nothing while my personal favorite track “The Heart VI” serves as the real 6th installment of his famous “Heart” series disregarding that awful diss Drake put out this spring, sampling my favorite SWV song “Use Your Heart” to take ownership in a Black Hippy album never materializing & explaining why he left TDE. The title track by Hitta J3, Peysoh & YoungThreat gets together over some keys to talk about being the ones while “gloria” tropically finishes by addressing a fear of forever.

“Not Like Us” was a firm reminder that Kendrick is absolutely more than capable of making fun music rather than certain individual having him pigeonholed as a conscious artist & GNX being his first body of work after leaving TDE/Aftermath if anything expands on that. The production showcases his versatility with a decent list of lesser-known local guests prominently going for a west coast trap vibe with additional elements of ratchet music, nervous music, conscious hip hop, hardcore hip hop & pop rap.

Score: 4.5/5

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Boldy James – “The Bricktionary” review

Boldy James teaming up with Harry Fraud for his 9th full-length studio LP. Breaking out in the fall of 2013 off his Alchemist produced debut M.1.C.S. (My 1st Chemistry Set), the Detroit lyricist would later go on to land a contract with Nas’ independent label Mass Appeal Records for a little while before getting locked up. Once coming home, Uncle Al would help get his name back out there once getting out by dropping the Boldface EP around Christmas 2019 & then the sophomore album The Price of Tea in China. This was followed up with the Sterling Toles-produced Manger on McNichols which was as equally fantastic, but the Griselda Records-backed Versace Tape EP was a tad bit disappointing given how rushed it was. Bo Jackson though would become his most critically acclaimed work to date & Super Tecmo Bo was almost as great for an EP. Fair Exchange No Robbery produced by Nicholas Craven also became an essential until Penalty of Leadership surpassed it & Mr. 10-08 produced by Futurewave is up there too as is the Conductor Williams-produced Across the Tracks at the beginning of the summer, so I knew The Bricktionary would live up to my expectations.

“Pressing My Bunk” is this drumless opener promising that the new shit will make toes curl daydreamin’ of the big stage whereas “Rabies” featuring Benny the Butcher works in a guitar so they can rap about still trappin’ & having motion within the jungles. “Pillar to Post” takes the trap route instrumentally likening this shit to a vicious cycle feelin’ worn down just before “Speedy Gonzales” hooks up some sampling & hi-hats shakin’ the bag at record time

Tee Grizzley joins Boldy for the slick lead single “Cecil Fielder” getting on their authentic d-boy shit together prior to the chipmunk soul/trap hybrid “Ronald Bishop” talking about wanting people to stop calling him crazy. “Shrink Wrap” featuring Babyface Ray brings a cloudy trap vibe to the table flexing their dope game being as cold as it is while “Shadowboxing” hops over more soul sample chops & hi-hats sparrin’ with his demons.

“Harvey Grant” nears the conclusion of The Bricktionary by asking God to forgive him for his sins the evil in the hearts of men with a luxurious trap beat backing him, but then “Thuggin’” properly finishes the 3rd classic that Boldy’s put out this year soulfully admitting he’s got bad habits & furthermore explaining the moral of the story being that the 227 Concreatures were steadily cuttin’ them corners.

A lot like Penalty of Leadership & Across the Tracks respectively, Boldy James nears the end of what has been a prolific year for hip hop musically by going on a 3-peat in terms of releasing some of the very best music of his entire career. Harry Fraud’s production puts a bigger emphasis on the chipmunk soul undertones of its predecessors & throwing a hint of trap in the mix, allowing Boldy & his guests to spit game from The Bricktionary itself.

Score: 4.5/5

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Ice Cube – “Man Down” review

This is the 11th full-length studio LP from Los Angeles emcee, songwriter, actor, film producer, CubeVision founder & BIG3 founder Ice Cube. The cousin of Del the Funky Homosapien & Kam, he started as part of the C.I.A. gained notoriety as a member of N.W.A until departing after their historic debut Straight Outta Compton. Cube later got his own Priority Records deal as a solo artist, teaming with The Bomb Squad for his own debut AmeriKKKa’s Most Wanted & later Kill at Will. Death Certificate went on to become another west coast hip hop landmark due to some of its racially & politically charged content, with his Lench Mob Records debut The Predator mainly addressing a lot of on racial tensions in the United States at the time. Lethal Injection was more g-funk heavy and the War & Peace double-disc effort marked the end of the former Westside Connection member’s Priority contract. Laugh Now, Cry Later distributed by Virgin Music & EMI Records was a solid comeback in ‘06 after mainly focusing on acting during the first half of the 2000s & then Raw Footage had it’s highlights although it was decent as a whole. I’m the West became his most negatively received body of work & the Interscope Records-distributed Everythang’s Corrupt showed to be an improvement although still average, so hearing Man Down would be a I’m the West sequel had me hoping it would be far superior to the original.

“Rollin’ at Twilight” starts with a trap intro that Cassius Jay laced looking to make highlights with his real ones whereas “It’s My Ego” featuring Scarface on the remix takes the g-funk route instrumentally thanks to E-A-Ski talking about giving a demonstration in front of the nation. “So Sensitive” was the weakest single of the 3 decently giving Cube’s take on gender & modern etiquette, but then Mount Westmore gets together for the funky pop rap banger “She’s Sanctified” with October London on the hook discussing women.

Nottz gives “Not Like Them” more of a traditional west coast vibe to the beat feeling like the world doesn’t make sense this day in age while “5150” aggressively talks about this bitch being crazy. “No Cap” featuring Ishadon has to be one of the most underwhelming moments despite the Zaytoven beat & the theme of everyone doin’ boss moves in a cesspool just before the industrial/trap crossover “3 Lil Piggies” talks about 3 cops.

“Ghetto Story” strips the drums completely finding his glory & doing it all for the streets to get his bag while “Facts” featuring J-D of Da Lench Mob finds the 2 reuniting so they can talk about mobbin’. “Fighting for My Life in Paradise” featuring Kurupt hops over a soul sample explaining how good it feels living the lives that they do while the boisterous “Let’s Get Money Together” featuring B-Real goes back & forth with each other as they make paper.

As for “I’mma Burn Rubber”, we have Cube going from 0 to 100 over a hyphy instrumental prior to the self-produced “Especially You” hooking up some prominent synthesizers talking about needing everyone to head for the dance floors. “Break the Mirror” featuring Xzibit links up the pair for a hardcore west coast heater pointing out that nobody wants the truth anymore while “Talkin’ ‘Bout These Rappers” takes a jab at wack MCs over a Lil Jon beat.

“Scary Movie” pushes towards the end of Man Down by tapping in with Lench Mob Records in-house producers Hallway Productionz promising that breaking your shit is certain while “Take Me to Your Leader” moves like an eagle looking regal on top of a vocal sample that David Banner provides. The closer “Ego Maniacs” featuring Busta Rhymes & Killer Mike wraps it all up with an insane sequel to “It’s My Ego”.

Laugh Now, Cry Later was probably the last Ice Cube album that I enjoyed consistently top to bottom & Man Down over 18 years later as a dedication for all his Day 1s improves on his few LPs since 2008. The more consistent production than some of his past recent material eclectically ranges from g-funk to hyphy, trap & drumless enlisting a tight list of guests to help reaffirm his status as a west coast veteran.

Score: 4/5

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WRLD Tour Mafia – “Blood, Sweat, Tours” review

Detroit trap outfit the WRLD Tour Mafia consisting of Rafa, WTM Miles, WTM Re, WTM Solid, WTM Amex & WTM Bankroll coming with their official debut album. Originally forming in 2019, they dropped their debut mixtape World Tour Mafia or Die a couple summers later followed by Tourmania the fall after that, the Mob Ties EP. Tourmania II from this spring very much lived up to the predecessor, although founding member DaeMoney was kicked out early this summer due to scamming through Rafa’s independently owned Slam A Slut Records label. They’re however looking to move on by giving it Blood, Sweat, Tours.

“Rehersal” is this Detroit trap opener with some heavy bells flexing they’re still rockin’ trap houses when they should be rockin’ stages whereas “Space Jamz” works in some rattling bass & synthesizers to talk about being the type that always has a plan. “Lawyers (Accountant)” maintains the Motor City’s unique take on trap music making it thunder in the clubs now just before “Graduation” pulls up so the Mafia can get the load.

Meanwhile on “Zombie Files”, we have WRLD Tour boasting that they’re out here sippin’ ½-dead refusing to back down from a damn thing leading into “Pizza” feeling a little unfinished after letting the beat ride out for the final minute despite the subject matter of staying up late counting money. “No Complaints” hooks up some pianos & 808s offering to show y’all how to hustle rather than dancing ahead of “Primetime” talking about needing something real instead of fake love.

“#9” starts the other half of group’s full-length debut by heading for a cloudy direction marking WTM Bankroll’s sole appearance while “$cam $chool” talks about scamming, which is a topic that’s nothing necessarily new in this specific subgenre. Especially Teejayx6’s stuff. “Saved by the Bell” atmospherically discusses spendin’ $50k on Essence since they don’t fuck with malls while “B-S-T” talks about being really lit & knowing what they signed up for.

The song “I75” named after the major north–south Interstate Highway nears the conclusion of while Blood, Sweat, Tours promising those who can’t say they’re names again that they’ll get it the worst way if they end up doing so the penultimate track “VMA” talks about the idea of “if it ain’t broke, don’t fix it” except that certain people aren’t even doing it right at all on top of running back-&-forth between states. “Caveman Tourmix” ends the LP by declaring they’ll refuse to switch reppin’ the squad until the end.

These guys’ rise in the Detroit trap scene in the last 5 years & although both Tourmania mixtapes will always have a special place in my heart when comes to the group’s discography, their full-length debut overcomes all the highs & lows that come with the game proving that they all can very much hold it down without Slae. You probably already know what you’re getting yourselves into with the production but either way, the 5 remaining members still each have their own exciting characteristics.

Score: 3.5/5

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Body Count – “Merciless” review

Body Count is a crossover thrash/rap metal band fronted by the O.G. of gangsta rap, actor, songwriter, producer & author Ice-T. Introducing themselves with an acclaimed posthumous debut, their next 2 offerings Born Dead & Violent Demise: The Last Days proved to be additionally well received although Murder 4 Hire marked their return after a near-decade long hiatus to mixed feedback. Manslaughter became Body Count’s strongest body of work since their debut, later resulting in Bloodlust & Carnivore maintains that consistency. Considering the steadily consistent output, the band’s 8th album had me anticipating it.

After the “Interrogation” intro, the title track starts us off on some rap metal shit talking about having only 1 life to live & 0 fucks left to give whereas “The Purge” featuring Cannibal Corpse frontman George “Corpsegrinder” Fisher embraces more of a death metal vibe drawing inspiration from the titular film franchise conceptually. “Psychopath” brings back the rap metal sound showing his psychotic tendencies leading into “Fuck What You Heard” dissing the Democrips & Bloodpublicans since he taught me both wings are on the same bird.

“Live Forever” featuring Howard Jones raps over more heavy metal production about the idea of immortality while “Do or Die” promises that no one is safe from the war that’s going on outside & that it’s either kill or be killed the way Ice-T sees it. “Comfortably Numb” featuring David Gilmour is a cover of the Pink Floyd track of the same name & religious beef prior to “Lying Motherfucka” blasting the United States president-elect Donald Trump.

Sepultura co-founder Max Cavalera joins Body Count for the song “Drug Lords” talking about the world we’re living in being in complete chaos as it is covering it all up using lies & schemes while “World War” talks about the possibility of World War III turning our own inner cities into battle grounds with the possibility of it all getting set off either next year or maybe tonight as we speak. “Mic Contract” finishes Merciless in the form of this 1 final rap metal joint wanting his muhfuckin’ money.

After persevering through personal tragedies along with social opposition & an army of naysayers, Ice-T & company emerges bloody but unbroken & with more rage than ever to the point where you can’t take any more & you’re done. The metal production is on par with their last couple Body Count offerings & the west coast O.G. himself doesn’t let up venting genuine anger through the iconoclastic lyrics.

Score: 4/5

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Father John Misty – “Mahashmashana” review

Father John Misty is a 43 year old musician, singer/songwriter & producer from Rockville, Maryland notable for being the original Fleet Foxes drummer in addition to releasing his first 8 albums Untitled, I Will Return, Long May You Run, J. Tillman, Minor Works, Cancer & Delirium, Vacilando Territory Blues, Year in the Kingdom & Singing Ax under his original moniker J. Tillman until rebranding himself from the Sub Pop Records debut Fear Fun onwards. I Love You, Honeybear was my introduction to him during my senior year of high school with Pure Comedy & God’s Favorite Customer maintaining that high quality. Chloë & the Next 20th Century became his most moderately received work yet in the spring of 2022, looking to redeem himself on his 14th studio LP.

The title track starts with this 9 minute intro assuring all is silent & not having to do the corpse dance until the next universal dawn whereas “She Cleans Up” works in elements of garage rock revival, boogie rock, glam rock & post-punk revival singing about the aggrieved becoming the aggressor & us doing it all again. “Josh Tillman & the Accidental Dose” has a bit of a Bobbie Gentry influence to it cautioning that one may never be whole again while “Mental Health” takes the orchestral pop route suggesting we’re all far too well.

“Screamland” brings singer/songwriter, art pop, neo-psychedelia, noise pop & post-industrial together into 1 advising to stay young on top of getting numb & continue dreaming just before “Being You” reflects on a dissociative state that he was in for 5 years. “I Guess Time Just Makes Fools of Us All” fuses singer/songwriter, boogie, disco, funk rock & funk music pulling inspiration from the book Men of Mathematics by Eric Temple Bell just before “Summer’s Gone” finishes by singing about time being unable to touch him.

Being a fan of Father John Misty for nearly a decade, Mahashmashana is his best since God’s Favorite Customer & lands right behind I Love You, Honeybearfor my favorite in his discography altogether. His production takes cues from the singer/songwriter, chamber pop & baroque pop vibes of his previous material whilst additionally venturing out into art pop, boogie, disco, funk rock, funk, neo-psychedelia, noise pop, post-industrial, orchestral pop, garage rock revival, boogie rock, glam rock & post-punk revival for an experiment in seeing what happens when he erases himself from his work.

Score: 4.5/5

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Marilyn Manson – “1 Assassination Under God” review

Ohio singer/songwriter, actor, painter & writer Marilyn Manson making his Nuclear Blast Records debut with his 12th studio LP. Signing to Nothing Records & Interscope Records, his debut Portrait of an American Family proved to be a passable industrial rock/alt-metal debut although The Triptych launched him into international stardom. Said triptych including Antichrist Superstar, Mechanical Animals & my favorite Holywood: In the Shadow of the Valley. The Golden Age of Grotesque & Eat Me, Drink Me were both received to mixed responses as was his final Interscope offering The High End of the Low & the Loma Vista Recordings debut Born Villain. However during my senior year of high school, The Pale Emperor made his true return to form followed by Heaven Upside Down & the Shooter Jennings-produced We Are Chaos wrapped up his Loma Vista contract. Marilyn hasn’t been around musically in a while because of psychological & sexual abuse allegations, which I can’t speak for myself on whether they’re true or false. That said as someone who grew up during his prime, I’d be lying if I said I wasn’t interested in 1 Assassination Under God.

The title track sets it all off with this 5 & a half minute intro singing about refusing to suffer for everyone else’s amusement assuring them they’ll always be entertained & everyone showing up for the execution whereas “No Funeral Without Applause” infernally discusses the only thing in this world that can fill this hole inside of him. “Nod If You Understand” throws it back to the Antichrist Superstar era refusing to repent since that’s what he was sent here for while “As Sick as the Secrets Within” mixes elements of alt, industrial & goth rock to sing about making everyone dream of him.

“Sacrilegious” swaps out the goth rock influences in favor of glam rock telling us that’s exactly how he’s been feeling just before the industrially glam “Death Isn’t a Costume” sings about being left behind. “Meet Me in Purgatory” goes alt-rock again wanting everyone to come with him if he’s casted out prior to alt/industrial metal hybrid “Raise the Red Flag” sings about refusing to accept your surrender. “Sacrifice of the Mass” ends by getting dressed in his mortuary best ready for his ride.

I’m not exactly sure how many more chapters we’re gonna get outta 1 Assassination Under God since it’s said to be the 1st in a new series, but I can definitely say that this is easily the best thing that he’s made since The Pale Emperor nearly a decade ago. His production with Tyler Bates feels like a mix of Mechanical Animals & Holywood pulling from alt-rock, alt-metal, industrial rock, industrial metal & glam rock with the songwriting nostalgically taking us back to 2000 channeling all the anger he’s been feeling in the past 4 years.

Score: 4/5

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