Marilyn Manson has released the official music video for “Unalive,” directed by Anthony Silva, alongside the worldwide arrival of One Assassination Under God – Chapter 2 through Nuclear Blast Records on August 14, 2026.
The song opens the nine-track album and provides the first point of entry into its completed narrative. Its accompanying video expands the dark, cinematic visual language surrounding the record following the previously released “Exit Wound” and “Front Toward Enemy.”
Silva, also known through his work as Poison, becomes the latest director to contribute to the album’s visual campaign. RIZZ and Gretchen Lanham created the “Exit Wound” video, while Henri Alexander Levy directed “Front Toward Enemy.”
One Assassination Under God – Chapter 1 was released on November 22, 2024, marking Manson’s first full-length record for Nuclear Blast. The second installment arrives nearly two years later and completes the project.
Manson described the album as the conclusion of his story. In a statement accompanying the release, he said he used every stone thrown at him to sharpen his edges and carved the songs into the skin of the world.
The imagery frames the record around endurance and permanent consequences. Rather than presenting those themes through a linear narrative, the album develops them through religious language, violent contrasts and recurring images of damage and rebirth.
“I am proud to present the second chapter of *One Assassination Under God*. This completes my story. I used every stone thrown at me to sharpen my edges. I overcame purgatory and carved these songs into the skin of the world. As you listen, I hope it forms a scar you cannot forget.”
Manson has also launched a virtual exhibition dedicated to the artwork of One Assassination Under God. The experience combines original visual works with music created to accompany them.
Audio commentary from Manson provides additional context for individual pieces. Visitors can move through the exhibition at their own pace instead of following a predetermined sequence.
The gallery directly connects Manson’s work as a painter with the music and videos surrounding the two albums. It transforms the artwork from supporting promotional material into another component of the project’s narrative.
The “Unalive” video offers a controlled visual interpretation shaped by Silva’s direction and editing. The gallery provides a contrasting experience in which the viewer determines how to navigate the material.
