The Manic Street Preachers seem to have embraced the fact
that they are getting older, and their eleventh studio album “Rewind The Film”
showcases the band’s maturity in a way that seems completely natural. The album
has received a great deal of critical fanfare, however the pursuit of a more
artistic direction, and the lack of electric-guitar-driven rock anthems seems
to have earned the ire of many fans.
The group are no longer the young rebels they once were and
they have learned a lot throughout the last twenty years. This is clearly showcased through
declarations that “I don’t want my children to grow up like me” and “I can’t
fight this war anymore” on the album opener ‘This Sullen Welsh Heart’. It is
probably the most understated opening to an album out of the band’s entire back
catalogue; James Dean Bradfield vocals sound very relaxed over the top of an
acoustic guitar arrangement, with guest vocals from Lucy Rose. This sets the
tone for a very different sounding Manics album from its most recent
predecessors.
The album then bursts into life with ‘Show Me The Wonder’ an
upbeat, trumpet-led number with a very radio-friendly chorus (probably the most
obvious choice to be the lead single). The band’s maturity is then showcased in
droves on the title track ‘Rewind The Film’. The lead vocals are performed by
Richard Hawley, whose rich, deep voice resonates throughout the lengthy track, as
it slowly builds up to the chorus, when Bradfield’s soaring vocals act as a
really effective counterweight to Hawley’s.
‘Builder of Routines’ opens with the sound of a xylophone (which
reminds me a little bit of the scores to classic horror movies) which
punctuates even further the artistic departure from previous releases. The chorus
is rather Beatles-esque in terms of its sound (it has a similar beat to ‘Eleanor
Rigby’ and ‘Your Mother Should Know’). Cate Le Bon then assumes the lead vocals
on ‘4 Lonely Roads’, a short sad song with a slightly unconventional piano
arrangement. ‘(I Miss The) Tokyo Skyline’ fades in from nowhere, and has a
really nice inclusion of a violin. The techno beat that underscores most of the
tune may serve to emulate the pulse of a city as lively and modern as Tokyo,
although I think I’d prefer the track without it.
‘Anthem For A Lost Cause’ has an acoustic rhythm which is
not unlike ‘A Design For Life’ but the comparison between the two is not too blatant, allowing the
song an identity all of its own. The arrangement on this track is superb,
with the verses nicely downplayed before the trumpets triumphantly re-emerge (along
with a really nice strings section) for the chorus; alongside the title track it is one of my favourites from the album. ‘As Holy As The Soil (That
Buries Your Skin)’ has a marching rhythm to it, with piano and acoustic guitar
married together very smoothly. Nicky Wire sings the lead (with Bradfield
providing a unified harmony) and he sounds much more confident than on his
previous attempts.
‘3 Ways To See Despair’ begins with just an acoustic guitar
and Bradfield’s vocals, but it suddenly builds into a colossal atmospheric
sound, which strides with purpose and determination. There are some fine lyrics
to be found in ‘Running Out Of Fantasy’ but they are not always implemented in
the most slick way; the line “has my fantasy reached its logical conclusion”
sounds very choppy, particularly because the arrangement flows very smoothly
throughout.
The instrumental ‘Manorbier’ follows a similar trend to
quite a lot of the other tracks from the album, a slow quiet build that
eventually bursts into something grand and full of character. The trumpets then
make their final appearance, signalling the arrival of the closing track ‘30 Year
War’. It is probably the most fitting way to end any Manics' album, showcasing
the bands political agenda, which has always been a presence throughout their
career. It should serve as a reminder to fans who are disappointed with this
album that the group still have the same fire inside them. The repeated line “I
ask you again: what is to be done?” allows the album to end on a somewhat
ambiguous open-ended note.
If “Rewind The Film” was to be the band’s final album I
would be satisfied, but the band have continued to expand their musical
horizons and proven their versatility very effectively here, and it would be
very interesting to see what comes next.
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