Manic Street Preachers – Gold Against the Soul

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Many find this to be the awkward one, the child that doesn’t belong anywhere. It’s slotted between two punk-spirited albums full of anger and vitriol, often eschewing melody for lyrics. The Manics sounded on their previous album like they’re more interested in starting fires than playing rock music. The Holy Bible was a philosophy professor going off-topic and refusing to let his students go. What does this collection of depressed soft rock has to do with anything?

Maybe these two albums were actually the abnormalities, not this. If you listen to them closely, you’ll find the same despair lurking there. Generation Terrorists wasn’t a victorious, rabble-rousing album but a car on fire just waiting to crash. What fueled its anger was despair, the thought that no matter how loud they’ll play nothing will change. That’s why it sounds so different compared to other political music. As for The Holy Bible, beneath the philosophy and big words it had “This is Yesterday”, “Die in the Summertime” and “4st 7lb”. The only reason the lattermost doesn’t fit here is because it’s not melodic enough.

This is the definitive Manic Street Preachers. It’s not their best album and it suffers from filler, but it’s one that captures their essence. If you have to distill the Manics, they’re a melodic rock band with as much brains as they got despair. ‘Despair’ is the key word here, because every song drips with it.

Just look at the song titles. It’s one of those albums that can convince you of having a concept – “Life Becoming a Landslide”, “From Despair to Where”, even a title like “Roses in the Hospital” hints more at despair than anything else. Even when they sing about something other than despair, it comes to that. “La Tristessa Durera” – a contender for their best song – is about a veteran who’s been abandoned by society, forced to live with his memories alone. I wasn’t in combat duty, but I did have a tough role in the military and that song is dead-on in expressing the alienation, the loneliness, how everyone treats your service like everyone goes through it. To me, this song is a godsend, showing us someone understands the loneliness of a discharged soldier.

The music is more softer, more melodic. Some expressed astonishment at this, but were the Manics ever brutal? Even The Holy Bible has its melodic, almost poppy moments. They just play at mid-tempo, which brings their melodic chops to the surface. If it was odd that their later records were so melodic, it’s only because we wanted to forget this record and believe in the Manics as explosive rock-n-rollers.

They never were that. Gold Against the Soul is the only logical continuation of their debut. All its fury and politics and anger and telling to people to fuck off were a last attempt at recovering from despair. Here, they wake up, quite indifferently, to a reality they knew they couldn’t change. How else to react to a rebellion you knew was lost in the first place?

The album’s power comes not just from despair, but a unique hopelessness. There was never a good time according to this music. Everything was always bad, but they just happen to sing about it now. “Life Becoming a Landslide”, in one sentence, points to a past that’s the same as the present. A lot of depressive music wax sentimental about a fall from grace. The fall is a common element in our thinking in dark times. Nostalgia is a place to run to, knowing that if things used to be good then maybe they have a chance of improving. The darkest albums have these, since they describe some kind of deterioration. There’s none of that here, just a monotony of despair.

The mood and sound are strong, but the songs alone don’t reach these heights. The album especially falters after “Roses in the Hospital”, and the final tracks are bursts of noise that only help to keep the overall mood, but not add to it too much. It’s also reliant on its sound more than anything. It sounds great when played from beginning to end, but if you find yourself choosing an individual song the choices narrow. “Sleepflower” is fantastic as an opener only.

When it’s good, it’s brilliant. “La Tristessa Durera” is a masterpiece. “Roses in the Hospital” is the second highlight, a funky Alternative Dance number that turns its despair into a protest. It’s the one song that captures some of the debut’s anger with the cry of “We don’t want your fucking love”, but only to fall back to despair. Other songs need the album’s mood to stick, but they’re good enough – “Life Becoming a Landslide” is strangely pretty, “From Despair to Where” is okay with brilliant lyrics and “Drug Drug Druggy” captures some Hard Rock intensity.

It’s also the album where the Manics begun their career as some of Rock’s best lyricist. The poetic titles are enough, but there are countless quotables here – “My idea of love comes from/A childhood glimpse of pornography”, “I am just a fashion accessory”, “I feel like I’m missing pieces of sleep”. If you need words to give your thesis or your book a title, there’s plenty here.

So it’s not their best album, but it is their best album, but if I have to direct a beginner I’ll direct them to this. They have more explosive albums, angrier albums, smarter albums and catchier albums. No album captured their essence like this, a poetry full of despair and intelligence that happens to go along with Pop hooks and guitar noise. Start your exploration here.

What the hell does the album title mean, by the way?

4 roses in 5 hospitals

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John Corey Whaley – Where Things Come Back

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Someone decided to mix John Green and Chuck Palahniuk. He even decided to place his story in a dead end town that gave Local H their talent and their fear of failure. It’s a good thing I didn’t know all of this before I read the book. The disappointment would’ve hit harder.

Whaley borrows some stylistic choices from Palahniuk, but barely scrapes what made him worthwhile. He doesn’t borrow his shock antics, but that’s not much of a praise. Chuck’s choruses are here, only they’re not as inventive or informing as before. The purpose of this repetition is to inform us about the character. Victor uses the clinical “see also:” because he’s viewing the world in a detached way. Tender kept referring to cleaning because it was in his docile nature.

Cullen is an angry teenager, but this is where his personality ends. As an angry suburban teenager I recognize I was born to privilege, but it doesn’t automatically make for a happy life. You can give your parrot a safe environment and food, but ignore him and you might find that he discovered self-harm without Nine Inch Nails.

There is more to life than physical well-being. The psychological is just as important. Once we don’t have to fight for survival, we still need a reason to keep going. That’s one reason we get all these depressed teenagers. What do you expect when you put them in an isolated community where they spend most time studying and with little human interaction? Do you want to be the parrot who stares at people talking, joking and laughing while never noticing you exist for a second?

Other problems can strike suburban life, but this is a common one that’s easily brushed off as nothing by ignorant people (if they’re your parents, then the situation worsens). Cullen suffers none of that. He’s not a jock who gets all the girls, but he has a best friend with a girlfriend who feels comfortable kissing him. He has sex with two girls in this novel, one is slightly older than him and the other is the town’s main hottie (both of which make the advances). He also had a thing going on with another before the events in the book started.

Cullen’s life is kicking. Why he’s so angry is never made clear. He dislikes people, but no one is an outright asshole. Nothing about him makes him an outcast or a weirdo. He has no weird hobbies or habits. He can’t even get angry over being bored. If girls and driving around are available to you, then you have some joy in your life.

The whole disappearance thing is an external event that isn’t a part of Cullen’s personality. What’s important is not the tragic event but how it affects the character, and we don’t see it. Cullen stays angry without change. He doesn’t become more detached or more social. He manages his sexual opportunities like everything is fine. Sex is a positive force in his life. He’s neither encumbered by sexual frustration or relies on it too much like Palahniuk’s Victor Mancini.

The book is darker than John Green’s novels (excluding the cancer book). Whaley is more comfortable looking at the darkness and the story is less convenient. His characters are also more flawed than quirky. Whaley’s outcasts aren’t odd angels. Lucas has his Green-esque charms, but both he and Cullen are portrayed as stubborn kids who need to expand their horizons a little.

Whaley also questions Cullen’s hatred of everyone. Green tended to cast everyone out, put them on the bleachers so they’ll watch how cool the nerd is. Whaley has moments where we’re exposed to the others’ humanity and their flaws. A great moment like this is with John Barling. Cullen views him as a punching bag, but Barling’s scene shows he’s just another guy trying to find some value in his life. When the bully’s life gets wrecked, Whaley doesn’t celebrate.

In fact, the side characters are the best part here. Each has a little arc of its own, and a novel about them would be more interesting. Barling has a story about escaping failure and trying to do something big. If Quitman starred in his own novel, it could be a revealing one that gives us the bully’s point of view. How Cullen’s parents deal with grief is fascinating. Each deals in his/her own way and these means change with time. This is how Whaley brings a character to life:

“”Yeah, we used to fight over your cookies. And Dad would always come in and say, ‘Now, now, the only way to settle this is for me to eat the last one,’ and he’d snatch it before we could stop him.””

Such deeds can inform us about who these parents are. There are better moments here. If Whaley had so many, why aren’t they the stars of the novel.

It may be the brisk pacing. Every description of Cullen’s parents is insightful, but they’re not lingered on enough. Whaley moves quickly, as if afraid that lingering on characters will somehow boring. His story never resorts to lame action to make us feel something is happening. He knows better than that, but he doesn’t understand that a good enough moment is worth lingering on.

Unnecessary details still find their way in. Whaley gives a biography of a character whose only importance is its death. The specific details of his background, his time in Ethiopia have no effect on the story. Start from the death and drop a few mentions of his harsh family and you’ll have enough. At least Whaley’s antagonist doesn’t fit the role of evil asshole who ruins things for everyone. He couldn’t make the instigator’s madness understandable, though. Cabot felt more like a plot convenience. Again, Whaley should have slowed down and wrote more moments that define who this character is.

Whaley shows potential. His view of Young Adult is more mature. He wants to be up there with Catcher in the Rye (which is name-dropped, of course) and he wants to reach its depth, not just quirkiness. It’s halfway done. Whaley left enough annoying cliches, but the good stuff that remained are just seeds.

2.5 woodpeckers out of 5