Album: Manic Street Preachers

Lifeblood, SONY

Andy Gill
Friday 29 October 2004 00:00 BST
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

"We used to have answers; now we have only questions," sings James Bradfield on a track from Lifeblood, "but now have no direction." He's wrong on several counts, the first being the presumption of once having offered answers - few bands have been as reliant on reinforcing their fans' sense of uncertainty and disillusion in the face of the big, bad world. But their claim to lack direction has, ironically, never been less true than on Lifeblood, perhaps their most focused album to date. Sadly, the focus appears to be upon emulating the mawkish stadium melancholy of Coldplay and Keane. Bradfield's fiery guitar lines have been largely replaced by piano anthems such as "I Live To Fall Asleep", "A Song for Departure" and "Empty Souls", all apparently designed to serve as rallying cries for teenage outsiders, such as their fanbase might have comprised a decade ago. By now, one would have thought their audience might have grown up - as the band themselves seem to, judging by the revisionist ton

"We used to have answers; now we have only questions," sings James Bradfield on a track from Lifeblood, "but now have no direction." He's wrong on several counts, the first being the presumption of once having offered answers - few bands have been as reliant on reinforcing their fans' sense of uncertainty and disillusion in the face of the big, bad world. But their claim to lack direction has, ironically, never been less true than on Lifeblood, perhaps their most focused album to date. Sadly, the focus appears to be upon emulating the mawkish stadium melancholy of Coldplay and Keane. Bradfield's fiery guitar lines have been largely replaced by piano anthems such as "I Live To Fall Asleep", "A Song for Departure" and "Empty Souls", all apparently designed to serve as rallying cries for teenage outsiders, such as their fanbase might have comprised a decade ago. By now, one would have thought their audience might have grown up - as the band themselves seem to, judging by the revisionist tone of the single "The Love of Richard Nixon", portraying the former president betrayed by his associates and abandoned by history. All of which seems a little beside the point at the moment.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in