Manic Street Preachers have been one of the most acclaimed and enduring British bands of the 30 years, starting with early works like The Holy Bible and Generation Terrorists and continuing as a three piece following the disappearance of songwriter and guitarist Richey Edwards. This iteration has won the group the most success commercially. Following a three year hiatus and side projects for frontman James Dean Bradfield, the group are back with their 13th studio album The Ultra Vivid Lament.
The album is more built around piano than previous Manics records and this offers a slightly different listening experience to their other records particularly the critical highs of Rewind The Film and Futurology released in 2013 and 14. The album lyrically obviously tackles the turbulent past 18 months as well as political uncertainty and the loss of both bassist Nicky Wire’s parents to cancer. While this may sound like quite heavy subject matter, the album still sounds like a Manics record channelling an upbeat sound through some world weary lyrics.
The piano led sound has led to comparisons to Abba and other piano based pop acts and while this isn’t necessarily what the group was aiming for it helps make this record stand out within their wider body of work. While it is more piano based this doesn’t mean there isn’t still room for Bradfield’s distinctive guitar tone to find space to stand out with Don’t Let The Night Divide Us in particular finding good use of this.
Still snowing in Sapporo is a powerful moody opener, coming in at almost 6 minutes and not feeling its length, reminiscent of some of the groups experimentation on Rewind The Film. Pre-released singles Orwellian, with some on the nose lyrics about the state of the world and The Secret He Had Missed featuring Julia Cumming which is one of the poppier tracks on the record contrast some of the more mellow moments and have become part of the groups touring set-list.
This record is arguably a more cohesive, stripped back and experimental record than 2018’s Resistance Is Futile and one of the group’s best received releases in the 21st Century, while perhaps not reaching the highpoints of 2013 and 14’s pair of albums this is a strong showcase for the groups continuing relevance and willingness to reinvent their sound. Now into their fifth decade as a band, this is a trio still with much to say and the sound to back it up.
Words by Chris C