Marilyn Manson: One Assassination Under God – Chapter 2 (Green & Blue Marble)

This is a pre-order item shipping on or near August 14, 2026

• If your order contains a pre-order item, it will not ship until all items are available!
• Release dates may change.
• Check the product page for updates!
• Tracking information will be provided once your order ships!

Following the surprisingly strong return of One Assassination Under God – Chapter 1, Marilyn Manson isn’t wasting any time. Chapter 2, due for release on 14 August 2026 via Nuclear Blast Records, picks up where its predecessor left off, expanding the bleak, cinematic world that Manson and longtime collaborator Tyler Bates have been building. The Green & Blue Marble Vinyl edition includes a 16-page booklet and is one of the standout colour variants available at launch.

As a review, Chapter 2 looks less like a sequel and more like the completion of a larger work. Where many artists split albums into chapters for marketing reasons, Manson appears to have approached this as one continuous narrative. Early single “Exit Wound” suggests the same brooding mix of industrial rock, gothic atmosphere and slow-burning melody that made Chapter 1 one of his strongest releases in years.

The biggest strength of this era has been restraint. Instead of relying on shock value or theatrical excess, Manson has focused on songwriting. Tyler Bates’ production gives the music space to breathe, allowing heavy guitars, electronic textures and Manson’s unmistakable voice to carry the emotional weight. The result feels darker, more personal and considerably more mature than much of his later catalogue.

Even from the track titles, Chapter 2 promises an oppressive, uneasy atmosphere. “Unalive,” “Don’t Answer The Door,” “Front Toward Enemy,” “The Arsonist,” and “Lucifer’s Teardrop” all suggest a continuation of the psychological themes introduced on the previous record. Rather than relying on horror imagery alone, the material seems focused on paranoia, violence, guilt and survival.

One of the reasons Manson’s comeback has connected with fans is because it doesn’t feel manufactured. There is genuine purpose behind these songs. The anger is quieter, the performances more controlled, and the atmosphere more unsettling because of it. Instead of trying to recreate Antichrist Superstar or Holy Wood, he has found a different voice that suits where he is now as an artist.

If the full album delivers on the promise of “Exit Wound,” One Assassination Under God – Chapter 2 could complete one of the strongest two-album runs of Manson’s later career. It feels less interested in nostalgia than in proving there is still something worth saying.