‘Futurology’ begins to somewhat of an instrumental countdown, before that true Manic Street Preachers sound hits us – it’s hard to believe that this is the 12th album the band (consisting of James Dean Bradfield, Nicky Wire and Sean Moore) have released, because it’s so exceptional in every way. Nowadays it’s an achievement to get past your 2nd album, but the Manics have never failed to deliver, since they began tearing up the music scene in the 80’s.
Title track ‘Futurology’, entirely written by Wire, almost sends us a message that this is far from the end for the Manics, with lyrics such as “we’ll be back one day, we never really went away” educating us as to why we shouldn’t be surprised at the brilliantness seeping through each track of ‘Futurology’. Despite ‘Rewind the Film’ being the sister album to ‘Futurology’, they couldn’t be more different, with ‘Rewind the Film’ being such a chilled, acoustic, Welsh-doused album, inclusive of the hint of growing older, going home, and settling down. ‘Futurology’ on the other hand screams instantly that though their growing older age wise, they’re not settling down, and are still the same band we know and love, as they feed us the powerful music, and genius lyrics we want from them, as well as boasting their writing and recording abilities (two successful very different albums within a year – hats off to them!)
Wire recently stated the first single from ‘Futurology’, ‘Walk me to the Bridge’ to be about the band crossing the Øresund Bridge that joins Sweden and Denmark, at a time when he was thinking about the leaving the 
band – Wire described crossing bridges as somewhat of an out of body experience, due to departing one place and arriving in another – quite a philosophical reference isn’t it? Fans appear skeptical of Wire’s description due to lyrics such as “I reimagine those steps you took” and “still blinded by your intellect” suggesting definite references to former guitarist and lyricist Richie Edwards, who went missing in February 1995, and was presumed dead in November 2008. Though no body has ever been found, the abandonment of Edwards’ car at a Motorway service station by the infamous suicide location, Severn Bridge, suggests Edwards tragically took his own life. The lyrics “so long my fatal friends” and “nothing left that we can give” are fitting in terms of saying goodbye to the band, and their success, supporting Wire’s explanation, but in my opinion, all of the signs point to Edwards, and it’s hard to see how anybody could read the lyrics and think otherwise. It’s a musical mystery.
‘The Next Jet to Leave Moscow’ features Super Furry Animals member Cian Ciaran, and was written entirely by Bradfield, including not only a prominent and fantastic bass line, but sound effects that suggest that a spaceship invaded the studio at the time of recording – nobody can deny that it doesn’t fit in well with the album title!
The bands tour earlier this year saw the live debut of ‘Europa Geht Durch Mich’ – though the entire album was recorded in Berin, this is probably the most prominent Europe themed and inspired track on the album, which includes Bradfield taking a step back from the microphone to allow German actress Nina Hoss to sing verses. The demo of this track which features on the deluxe edition of the album is an interesting listen as it
sees Bradfield conquer the entirety of the vocals, though as gifted as Bradfield is, the German lyrics do lack the touch of Nina Hoss!
My favourite track on the album is ‘Sex, Power, Love and Money’, which sounds almost like a disco stomp anthem future Manics gig goers can fist pump too. Wire’s shout of “RECESSION” before Bradfield’s of “Sex, Power, Love and Money” throughout the chorus seems to me like the sound of a band forgetting everything and having fun, as they focus on what I’m sure aren’t just their downfalls, but the general publics. ‘Let’s Go To War’ is another track that leaves you beaming at the thought of how much fun the band sound like they’re having, as well as your own happiness with the rock and roll track Moore dominates with drum fills, as well as the passionate barks of Bradfield on the repetitive chorus lyrics “Let’s Go To War” – surely soon to become an anthem at the indie discos mentioned in ‘Walk Me To The Bridge’. The track also boasts one of the albums best lyrics; “working class skeletons”.
The guitar in the instrumental track ‘Dreaming a City (Hughesovka)’ blew me away. A lot of people skip past instrumental tracks but this one is quite special. It also sounds like it could accompany the starting credits to an 80’s TV show that has a very large cast. ‘Mayakovsky’ is another great instrumental track, though the guitar riff and drum beat occasionally have a ‘White Stripes’ – ‘Seven Nation Army’ feel to them. Neither instrumentals appear to have the usual Manics sound to them, and it’s the same for ‘The View from Stow Hill’, in which the music seems to speak louder than the words. ‘The View from Stow Hill’ could’ve sat comfortably on sister album ‘Rewind The Film’, along with ‘Divine Youth’; a chilled but lyrically powerful ballad written by Wire, which sees Bradfield team up with Welsh singer and harpist Georgia Ruth, discussing “Divine Youth, lying in a bruised and battered skin”. The presence of Ruth’s harp is a beautiful touch to the track.
‘Black Square’ begins with a combination of spoken ‘Europa Geht Durch Mich’ lyrics from Nina Hoss, and more futuristic space sounds, before a drum beat, followed by music, before Bradfield’s voice kicks off in what appears to be a rant about success, with Bradfield singing about being “haunted by perfection”. Though ‘Futurology’ is such a powerful, upbeat album that we all want to preach in the streets to uneducated strangers about, the lyrics seem to suggest a lot of self doubt and disappointment; ‘Misguided Missile’ for example is another track with a catchy chorus we all want to shout along to, yet opens with the lyrics “I am a self obsessed fool”, “consumed with denial”, going on to discuss the lack of effort made by society, with Bradfield singing of how he “was willing to be deceived”.
In a recent interview, when speaking of ‘Between the Clock and the Bed’ which features Welsh musician Green Gartside, Bradfield thought it to be a tad out of place on the album, though believed Gartside’s voice would be perfect for it, and of course they were right! It’s a great track which Bradfield described to have a “shiny indie pop soul” sound to it, the edginess to the track could easily make it a debut single – it’s hard to believe that a bands 12th album can contain such fresh material, but let’s be honest, the Manics can do anything!
‘Futurology’ has proved that the Manics are still as prominent and detrimental to the music scene as they were nearly 20 years ago. Earlier this year when Wire described ‘Futurology’ to be “The Holy Bible’s bedfellow”, I was slightly skeptical, but all I can say now is ‘Thou Shalt not doubt the great Nicky Wire’.
You can order ‘Futurology’ here.
By Laura Dean – @modestlaura
