Industrial/Noise charts

Review: Dawn Yawns is one of five new 12" records released at the same time, documenting one or two - if not more - furtive live sets performed by Current 93 (David Tibet) between London and Hastings in early 2025. On this quintet of new transmissions, dream and daylight are heard in grisly merger, on the back of an umbral awakening from a polar slumber, where the blood moon never sets, known to C93 fans only as the "Menstrual Night". Be warned, however, these eerie recordings have a sure capacity to mark the soul in unprecedented ways.

Review: Moony Tunes is one of five new 12" LPs recently unveiled by David Tibet aka. Current 93, mad witch doctor of the post-80s industrial continuum. An ever-morphing project, Current 93 always implies motifs of apocalyptic folk, dream logic, and esoteric revelations, and this volume, subtitled Preparing To Sleep In Menstrual Night, feels like a whispered dispatch from the edge of sleep and symbol. True to C93's nature, it resists easy description, lullabying eerily through hoveringly attentive drones and spellcasting vocals. Each pressing includes a riso print of Tibet's painting Moony Toons, hand-signed in pencil, thus hand-stamping an album best received as a kind of ritual, and shaped by the occult aurae of Tibet's performances in London and Hastings earlier this year.

Review: As we hapless reviewers make our way through these five new experimental LPs by Current 93, we cannot help but feel increasing torment and terror at the figures portrayed on the front covers of each record: hand-painted by David Tibet himself (the artist has increasingly indulged such formal solo trend-buckings through his own Cashen's Gap imprint in recent years) they appear like sleep paralytic demons or the ghosts of cancelled English folk yore. All the records are apparently ritually connected to a recent string of live appearances between London and Hastings, and Tibet's penchant for demonologic peerage titles such as GreenSleeve Drakon and Gnostic Sketch - blurring a sense of self-referentiality and occult otherworldliness - leave us bewildered and slack-jawed.

Review: English experimental group, Current 93, was founded in 1982 by David Tibet and set out to explore industrial music with abrasive tape loops, droning noises and distorted vocals. As Real As ScareCrows is a haunting new chapter in Tibet's arcane vision, and it was released alongside four other LPs to mark recent Channellings in London and Hastings. Ritualistic and esoteric, the album feels like a spectral transmission or "ScareCrow scaring crows away after Menstrual Night," as Tibet describes it. It's a deeply unsettling and bleakly poetic work that is unmistakably C93 in its mood and mystique. Each copy includes a signed risograph print of Tibet's painting, making it as much an art object as a musical release. A beautifully eerie offering from one of Britain's most enduring and enigmatic cult acts.

Review: Another of five LPs by Current 93 (David Tibet) through his own audio-esoterica label Cashen's Gap, this brilliant yellow and green hued LP nods to the universally recognised colour of earth-ground wire, and comes in the wake of a recent two part set of "channellings" (live performances) in both London and Hastings. As ever, Tibet steers the dream ship through surreal poetics and creaking soundscapes, and offers us a risograph print of his artwork, titled MayBe Skeletal RainBow, or perhaps Building The RainBow PainBow Preparing For Menstrual Night (we're not sure).

Review: The peerless Dark Entries is back with another comprehensive new collection, Deep Entries: Gay Electronic Excursions 1979-1985, which is a well curated collection of ten rare queer synth tracks that explore the hidden corners of gay musical history. They span a pivotal period of six years and the songs range from sultry to angsty to camp with plenty of lovely 808 snares and textural analogue synths. This period in particular saw the gay community having to deal with the onset of the HIV/AIDS crisis and these tracks capture the era's mix of love and longing. Patrick Cowley's music is always going to stand out wherever you hear it and that is the case here on 'Love Me Hot,' while Megamen's proto-electroclash 'Designed for Living' and Paula Villagra's techno-pop anthem 'Happy Song' are also real gems.

Review: Imagine a world where the pioneers of hip-hop and electro reign supreme, their sounds echoing through the neon-lit streets of a futuristic metropolis. This is the world that Clipping creates, their music a heady blend of gritty beats, razor-sharp rhymes and dystopian soundscapes. 'Dominator' and 'Change the Channel' set the tone with their raw energy and infectious hooks, while 'Run It' and 'Go' showcase the group's lyrical dexterity and knack for crafting intricate rhymes that weave tales of technology, alienation and social unrest. Collaborations with Aesop Rock, Nels Cline and Cartel Madras add further depth and dimension to the album's sonic tapestry, each artist bringing their unique flavour to the mix. Tracks like 'Simple Degradation' and 'Mood Organ' delve into the darker corners of this dystopian world, exploring the anxieties and uncertainties of a future dominated by technology. It's not for the faint of heart, but it is a thrilling ride through a world of futuristic sounds and thought-provoking lyrics.

Review: The somewhat surprising return and attempt at redemption from the industrial metal shock-rocker Marilyn Manson has been a bold pill to swallow, with the once iconic provocateur seeking to avoid the many allegations and numerous controversies he has garnered over the last decade. Attending rehab and becoming fully sober over the past few years has seen dramatic weight loss, a notably more lowkey public demeanour and a newly signed record deal with Nuclear Blast (having been dropped by Loma Vista not long after 2020's We Are Chaos) turn a few heads, simultaneously cautious and curious as to the authenticity of this humble arc. With lawsuits recently thrown out, the court of public opinion appears to be the only form of due process that shall occur, leaving it to individual listeners to make up their mind as to the merit of the artist as a person. As to the art itself, One Assassination Under God: Chapter 1 is the 12th album to adorn the name Marilyn Manson, and it's his best since 2000's Holy Wood. Tapping Chelsea Wolfe collaborator/producer Tyler Bates to oversee the entire project has helped to create a generational bridge between how out of sync Manson himself had become with his own artistic strengths and audience desire, and Bates' insider knowledge as a younger fan first, collaborator second. Together they rediscover the core industrialist menace, gothic romanticism and hedonistic nihilism that kept listeners hooked after the initial shock of aesthetic would cease, but for the first time in decades, it feels earnest and earned rather than forced. Boasting Antichrist Superstar style buzzsaw synths and chug-heavy breakdowns on cuts such as 'Nod If You Understand', while the self-deprecating admission of using drugs to hide behind monstrous flaws on the gloomy balladry of 'As Sick As The Secrets Within' harks back to the most fragile moments of Mechanical Albums. Be it a cynical cashgrab or attempt to regain fan adoration, or the genuine musings of a tortured artist finally learning to face his own demons head on, there's simply no denying that this is Manson at his most potent, intimate and focused, begging the question of how different of a career trajectory and latter day output might we have had if the man had learned to look inward long before hitting the bottom.

Review: Former Throbbing Gristle alumni Chris Carter and Cosey Fanni Tutti are in the middle of remastering and reissuing their superb studio albums. The electronic pioneers were known for their perfect melodies and compelling rhythms and 1989's Trust is no different. It's a superb selection of electro-pop sounds skewed through their own erotic lens. Despite the signature coldest of their sounds, these tracks somehow exude plenty of warmth. Form the deep-frozen synths of 'Watching You' and the glacial aesthetics of 'Deep Velvet' this is early and essential tacker from these enduring pioneers.

Review: Swedish duo SHXCXCHCXSH distort club music by using a refined, idiosyncratic palette that challenges functionality. As logophiles, they twist language into fragmented, barely recognisable sequences, reflecting their experimental process. Their new album marks their debut for Northern Electronics and showcases a broader exploration of sound. Spanning 15 tracks in style, it combines drone elements, shredded vocals and chaotic melodies to make for a dark, intense atmosphere. Interspersed with brooding yet effervescent breaks, ......t is their most focused and comprehensive work to date and it also pushes their sound into new territories.

Review: Formed in 1975, the British industrial group Throbbing Gristle - Genesis P-Orridge, Cosey Fanni Tutti, Chris Carter, and Peter "Sleazy" Christopherson - had pushed sonic and cultural boundaries over the edge, with their transgressive performances, experimental electronics, and confrontational aesthetics. After disbanding in 1981, TG's reunion in the early 2000s was met with both excitement and skepticism; rather than nostalgia, they continued evolving, creating new works like Part Two: The Endless Not (2007), which managed to scupper expectations beyond the mere expectation that they scupper expectations. This Berlin performance, on the cusp of a new year, captures their raw, improvised power, in the space of five tracks which would be released on the 2007 record. Haunting, mechanical, and utterly uncompromising.

Review: Chris Carter and Cosey Fanni Tutti are busy reissuing remastered versions of their most classic albums. Pagan Tango originally came in 1991 and was described at the time by Melody Maker as "perfection." This is the first time the album has been available on vinyl since it was originally put out and it comes on limited red vinyl with a printed inner sleeve of archival photos making it a real collector's special. Tracks like 'Ecstasy' reference the trendy drug of the day, there is taut EBM on 'Take Control' and more sultry tunes on 'Face to Face'.

Review: Trent Reznor and Atticus Ross, known for their remarkable work with Nine Inch Nails and film scores like The Social Network, deliver a techno-charged soundtrack for Luca Guadagnino's tennis-themed love triangle drama Challengers. The score is a pulsating mix of electroclash, synth-pop, and driving techno, expertly weaving traditional instruments with electronic beats. Reznor and Ross take Guadagnino's vision to heart, crafting a soundtrack that not only drives the narrative but also challenges expectations with its bold, rhythmic energy. Tracks like 'Compress/Repress', co-written with Guadagnino and featuring Reznor's vocals, showcase their ability to blend artistic expression with the film's themes of control and power. Overall, this is a excellent soundtrack that works well to support the visual or just listening to it without having seen the movie.

Review: Robert Rental is back on the mighty Dark Entries as the cult label reissues his Mental Detentions album as an expanded double pack. Rental is a Scottish pioneer of DIY electronic music who played a key role in shaping the UK's countercultural sound alongside collaborators like Thomas Leer and Daniel Miller. Though he released little solo music, his 1979 cassette Mental Detentions was a standout of the era that featured raw demos made with budget equipment like a Roland drum machine and Stylophone keyboard. Tracks like 'Stuck' offer a distorted take on the classic motorik sound, while 'Vox' delivers an 18-minute ambient journey in which it is easy to get lost. Rental's work captures the spirit of experimentation and innovation in the face of limited resources.

Review: Current 93's latest album, Sketches of My Nightmares, is a collection of fractured musical scribblings that evoke a sense of dreamlike wonder and disorientation. The album is a tapestry of skittering sounds, strange tape loops, and other outlandish noises that weave together to create a haunting and evocative atmosphere. One of the highlights of Sketches of My Nightmares is Tibet's haunting vocals. His voice is both ethereal and powerful, conveying a sense of vulnerability and longing. The lyrics, which are often cryptic and enigmatic, add to the album's dreamlike quality. Overall, Sketches of My Nightmares is a masterpiece of avant-garde music. It is a record that is both challenging and rewarding, and one that will leave a lasting impression on the listener.

Review: The overdetermination of many sources of inspiration fed the making of this new EP by Asymmetrical (Giovanni Inglese), whose regular top-ups for the label have earned him his very own catalogue number reservation, this one coming as no exception. Said inspirations include: the digit 7, elevated to the status of Jim Carrey's number 23; a sticker glimpsed in a bathroom in a north-west Rome nightclub; and a long gestation of studio sessions, committed to between 2018 and 2020. The result was a slurrying EBM release of the coldest affect, consisting largely of all-consuming licky bass, mussitating monologues ('Estetica Della Notte' tells the tale of assuming nocturnal form while under the domed hoardings of Rome's famous Pantheon) and subtly vampiric overtones ('Porno Incubo').

Review: Electronic pioneers and former Throbbing Gristle alumni Chris Carter and Cosey Fanni Tutti are held in high regard amongst those who know, and their records have always been in high demand. Right now they are being reissued in remastered form with a printed inner sleeve of archival photos and nice coloured vinyl. Techno Primitiv came came first back in 1985 on Rough Trade during the iconic duo's icy synth and minimal period. This one is the latest in the reissue series which started back in March with Elemental 7, Muzik Fantastique! and Feral Vapours Of The Silver Ether.

Review: Laibach has announced the release of Opus Dei Revisited, a newly reworked version of their seminal 1987 album. This project features two distinct versions of the original work. The first disc showcases a complete reimagining of the tracks, developed during the band's ongoing Opus Dei Revisited tour. The second disc includes fresh remixes by Rico Conning, who produced the original album, allowing him to reinterpret the source material while preserving key elements. Opus Dei was Laibach's first release with Mute Records, propelling them into international recognition and spotlighting their unique sound. The album includes Leben heiBt Leben, a German-language adaptation of Opus' Live is Life, which will again be featured on this release. Formed in 1980 in the industrial town of Trbovlje, Slovenia, Laibach's provocative performances and imagery have earned them a reputation as one of Eastern Europe's most influential collectives. Opus Dei Revisited promises to challenge perceptions and expectations, echoing the band's relentless pursuit of artistic innovation.

Review: This version of Chris & Cosey's Musik Fantastique! is a reissue of their original 1992 album, which features a mix of new wave, post-punk, and electronic influences to produce a slick slew of dreamy melody and threnody. Chris & Cosey's sharp, often confrontational lyrics explore themes of love, politics, and society, on what is otherwise a more centre-field and dreamy album in the pair's overall brutal discography; it's a cherished part of their synthpop / dream pop era from the early 90s.

Review: Fresh from releasing a swathe of conceptual full-lengths, Los Angeles threesome Clipping have returned to their hip-hop roots via a mixtape style album reflective of their hip-hop roots. Of course, this is not hip-hop in the classical sense. According to the accompany sleeve notes, Dead Channel Sky is a collection of cuts focused on the present, dually inspired by the histories of cyberpunk and hip-hop. In practice, that means fast-flowing and lyrically dextrous rhymes, of course, but also beats that variously sample, chop up or reference everything from 90s rave classics, the rock-rave big beat antics of the Prodigy and Nine Inch Nails stail industrial grit, to TB-303-laden acid house, the dark and doomy trip-hop of Mezzanine-era Massive Attack, drum and bass and experimental electronica.

Review: Originally released on cassette in 1984, Borghesia's Clones album now resurfaces on vinyl courtesy of the dons at Dark Entries. It's a fine glimpse into early electronic experimentation from 1980s Ljubljana, all created using borrowed gear and recorded live without overdubs. The results are an album of hypnotic proto-techno and acid-inflected instrumentals intended for video installations and performances, all of which speak to the raw, pioneering spirit of the scene in Yugoslavia at the time. The A-side has driving club energy, while the flip drifts into more immersive ambient territory. It might be four decades old, but this album still has a visceral impact on mind and body.

Review: The reissue of Current 93's Nature Unveiled brings back an iconic album that first captivated listeners with its avant-garde sound. This album features two striking tracks: 'Ach Golgotha (Maldoror Is Dead)' and 'The Mystical Body Of Christ In Chorazaim (The Great In The Small).' 'Ach Golgotha (Maldoror Is Dead)' stands out as an irreverent celebration of orthodox liturgical rites, inspired by the demon Maldoror, a creation of French poet Lautreamont. This track, with its dark and mystical aura, reflects the early influences on Tibet, including the magician Aleister Crowley. Fans appreciate the eerie and otherworldly appeal of this piece, which retains its power and impact decades later. 'The Mystical Body Of Christ In Chorazaim (The Great In The Small)' complements the first track with its own haunting soundscapes. The album's ability to transport listeners to a realm of fantastic nightmares underscores Current 93's lasting influence in the experimental music scene. Pressed on picture disc, this version is extra special for collectors who look for unique music and packaging.

Review: Kevin Richard Martin, known for pushing the boundaries of sound as THE BUG, unleashes his latest full-length, Machine. The album, released via Relapse, is his first solo instrumental work under the moniker, following a series of self-released EPs on PRESSURE. Each track is a sonic barrage, merging futuristic dub with crushing electronic elements, heavy bass riffs, and industrial weight that recalls his earlier work with Techno Animal and King Midas Sound. Machine takes the listener on a journey through dense, dystopian soundscapes, where each beat feels like a seismic event, making it perfect for oversized systems in sweat-drenched clubs. Tracks like 'Buried' and 'Bodied' epitomise this, with the former dropping tectonic bass lines over heavyweight beats, while the latter smoulders with industrial doom. Martin's signature "ice cold and dystopian" sound is at its zenith here, blending visceral sub-bass pressure with masterful production. It's a brutal yet nuanced record, one that demands to be felt as much as heard.

Review: This expansive 2CD collection from Nurse With Wound compiles a range of experimental works from 2008-2011, offering a glimpse into their cut-and-paste sonic universe. Opening with the jarring 'Cruisin' For A Bruisin'', the set quickly plunges into a diverse array of sound, blending drones, rhythms and odd vocal samples. The first disc is split into 'The Bacteria Magnet' and 'Rushkoff Coercion', while the second features 'Erroneous, A Selection of Errors,' likely showcasing unreleased material. The music constantly shifts, moving from chaotic big band absurdity to African-inspired polyrhythms, cold techno and smoky ambient passagesiall within moments. Though the collection lacks a unifying theme, its disorienting patchwork of textures offers plenty of intriguing moments. As with any NWW release, it's difficult to categorise, but it's a skilful, unpredictable exploration of sound that keeps listeners engaged despite its ever-changing nature.

Review: American guitarist, singer, and lead songwriter for legendary rockers The Velvet Underground, Lou Reed also had a distinguished solo career, including Metal Machine Music, which remains one of the most radical and controversial albums ever released. First issued in 1975, its wall of feedback and distortion defied all musical convention, splitting critics and fans but earning cult status for its uncompromising vision. Now celebrating its 50th anniversary, this landmark work returns for Record Store Day 2025, having once been described by celebrated critic Lester Bangs as "the greatest record ever made in the history of the human eardrum," and who are we to argue.

Review: It's not a scam... it's Skam! To the Skam sister label Kasm comes Russell Haswell with a mitre-sawing electro release, veering toward brash abstraction. A gobby intonation is wrought from the distortion send here, where drums near-vocally poke through the muck, like rambunctious talking ghosts in machines. Warring allusions to lost humanity take shape on titles like 'Fractured Bones' and 'Tournament Species', where cyborg gladiators rise from their catacomb internments to face off against each other again and again, in haunted perpetuity. 'Different Takes' is the best example of the record's at times tempoless ferocity, scattering what remains as an intuitive pulse across phase-distorted gargles and made-wonky beat hydraulics.

Review: First compiled as a double CD in 2002, Moon's Milk (In Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter "Sleazy" Christopherson, Drew McDowall and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-Super- Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or re-pressed on vinyl. Time has only ripened its tapestry of regal strangeness. Arranged sequentially in tribute to the equinoxes and solstices, Moon's Milk captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity and sound design. 'Moon's Milk or Under an Unquiet Skull' initiates the proceedings on 'Spring Equinox', a two-part netherworld organ seance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, 'Summer Solstice' skews lighter but no less incantational, with Balance embracing his voice- as-instrument across lucid dream torch songs ('Bee Stings'), purgatorial spoken word ('Glowworms/Waveforms'), sultry chamber pieces ('Summer Substructures'), and falsetto ravings ('A Warning From The Sun (For Fritz)'.

Review: The then recently reformed Throbbing Gristle's 2005 New Year's Eve performance at Berlin's Volksbuhne pulses with the band's trademark intensity, presenting a vivid snapshot of their uncompromising live ethos, immortalising a key moment in their ongoing evolution, where they intertwine iconic tracks like 'Convincing People', 'Slug Bait', and 'Hamburger Lady' with newer materialigiving a taste of what was to come in their first album in 27 years. The show also marked their first encore in over two decades, a rare treat for fans. As one of the originators of industrial music, their influence looms large, with this performance underscoring their continued commitment to pushing boundaries, both musically and culturally. The shock value of Throbbing Gristle has worn off, but the questions they raised about the nature of art, performance and audience remain compelling, and the music remains as instantly visceral and comfrontational as ever. Their legacy is woven through the dark industrial fabric of countless acts that followed, but the message has always been clear: creativity without compromise is the truest form of rebellion.

Review: Klamm is the new label dedicated to the artistic output of Saele Valese. After "Ivic", a collection of old and new materials published on Alva Noto's label (NOTON) at the beginning of the year, Saele Valese releases now his first real album "A White, White Day". Written and recorded between 2018 and 2021 the material of this work was sliced, glued and recreated several times, just like a filmmaker in the editing process, before finding its final form. Inspired indeed by the most poetic cinema, 'A White, White Day' represents, in the form of a non-linear and enigmatic narrative, a personal and psychological reflection on time, memory and dreams. Mastered by Rashad Becker.

Review: Selected from a decade of recordings, this release showcases Bass Communion at its most experimental and texturally rich. Tracks are layered with analogue imperfectionsitape hiss, wow and flutter, static noiseithat are transformed into haunting soundscapes. The mellotron, buried beneath layers of imagined rust and dirt, adds an eerie, organic depth to the fragmented drones and spectral noise. The carefully constructed album feels like an excavation of forgotten sonic artefacts, with each piece offering a narrative rooted in decay and texture. Pressed on 2xLP, this is a striking addition to the Bass Communion catalogue, perfect for fans of sonic exploration.

Review: 6SISS explores the power and mystery of quasars on this latest release for Micron Audio, a sonic journey through these cosmic giants. The four tracks represent different stages of interaction with a quasar, from the initial observation to a euphoric absorption into its core. 'QUASAR I' features fizzing synths evoking radio waves traveling across space, while 'QUASAR II' brings a bass-heavy intensity, simulating the gravitational pull of these celestial bodies. 'QUASAR III' deepens the mood, illustrating the slow attraction of stars and planets, and 'QUASAR IV' crescendos with euphoric absorption into the quasar's core. 6SISS crafts an abstract, scientific narrative, offering a deep, immersive experience with radiant energy.

Review: Belief Defect's Moe Espinosa and Luis Flores bonded over a love of early industrial music - and even now, some six years on from the pair's debut album, its influence is still very much in evidence. But that doesn't mean that this, their eight track sophomore effort, harks back to the days of Throbbing Gristle et al. Rather, the Berlin duo take their taste for the uncompromising and sonically shocking and twist it into new shapes, equally informed by experiments from the leftfield of electronica and sharpened up by acute sound design. 'Apprehension Engine' is technically ambient - it's certainly beatless - but the way it steadily frazzles and burns itself up is edgy and unsettling rather than being chill out material. 'The Witching' splices doom-laden, deep voices with lumphammer kick drums, while 'Celebrate Me!' is a gloriously half-Suicide, half-Autechre mix of cyborg aggression and throbbing sequencers. Not one to be listened to with the lights off we reckon... It'll be all fright on the night!

Review: Second time around for some time Deep Dish man Sharam's 2006 anthem 'PATT (Party All The Time)', a canny combination of dark Italo-disco bass, mind-mangling TB-303 acid lines and celebratory vocal snippets (back then, you couldn't escape the sampled "my girl wants to party all the time" vocal refrain). This time round, Adam Beyer has joined forces with fellow Drumcode artist Layton Giordani and Chicago legend Green Velvet - who delivers typically evocative spoken word vocals - to give the track a massive new big room techno spin. Pitching the track up while retaining the original bassline and acid lines, the trio stretch out this hard-as-nails groove before finally unleashing the glassy-eyed vocal sample and some suitably dark and brain-melting electronic refrains. To say it's 'big' is an understatement.

Review: Lithuanian hardcore techno producer Somniac One returns to her very own Somniverse imprint for a rabid new EP release, 'To All My Soggy Creatures Of The Night'. Chronicling four eldritch horrors on a goopy green vinyl record, this 12" opens on a sense of berserk immediacy with 'Poly Nightmare', its crunching hardstyle kick-tears seizing upon a restless crossrhythm that only then settles back a four-beat bed after giving us a certain fright. The EP continues as rhythmically expected from there on out, although 'Damp Dreams' is similarly prodigal and pliocene, its huge overhead string synths set against hard acid, and implied to sound as though they were the harmonic calls of a leviathan rearing its huge head above water.

Review: Returning with his first full-length since 2020's David Bowie-indebted We Are Chaos, while more notably marking the industrial metal goth icon's return to the spotlight following a series of troubling allegations that seemingly appear to now hang in limbo, One Assassination Under God: Chapter 1 shall serve as the 12th full-length studio endeavour from Marilyn Manson. Co-produced with frequent Chelsea Wolfe collaborator and film scorer Tyler Bates, the material boasts some of the most synth-laden, new wave winking and direct metallic rock bangers the mercurial yet questionable figure has dropped in almost two decades, making for a sonic victory lap of sorts as Manson attempts to rebuild his brand and aesthetic.