Shooter Jennings: "Marilyn Manson's miraculous poetic ability doesn’t grow cold, like a lot of people’s songwriting"

[L-R] Shooter Jennings and Marilyn Manson
(Image credit: Kevin Winter/Getty Images)

Marilyn Manson’s new album, We Are Chaos, is a record steeped in the anxiety, tension and degeneracy of our present moment. It’s Manson, so it’s provocative and louche, the alien hustle of electronic pop and new wave periodically upended by the danger of electric guitar and industrial steel.

There are acoustic guitars, too. Big songs and big ideas. Written and produced with Shooter Jennings, it sees Manson resume the role of America’s enfant terrible and of that of the chronicler at a remove - what else affords him such an uncanny second second sight that allows him to find the pressure points and skewer American moral contradictions?

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Jonathan Horsley

Jonathan Horsley has been writing about guitars since 2005, playing them since 1990, and regularly contributes to publications including Guitar World, MusicRadar and Total Guitar. He uses Jazz III nylon picks, 10s during the week, 9s at the weekend, and shamefully still struggles with rhythm figure one of Van Halen’s Panama.