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

Iain M. Banks – Consider Phlebas

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Is this really the person who wrote The Wasp Factory?

You can feel it’s the same mind for a while. Banks’ world is weird and unstable enough. The basics of it are simple at heart, focusing more on cool ideas rather than an abundance of details. Often, there are bits of madness that bring the world to life like the small tribe arc. The prose is worse than stiff though. It’s so invasive it literally turns a rollicking adventure with great characters into the word ‘kilometer’ placed between references to violence.

the story isn’t a dull travelogue with Banks showing off his worldbuilding skills. Banks uses the smart technique of showing bits and pieces, emphasizing the size of the world rather than just writing an encyclopedia. The structure is a simple one. Man goes on a mission, things go wrong and he has to solve the problems. Each problem is different and each setting is different. Even without character development the novel could give you a good time.

The prose is closer to the horrifying George Martin prose. Saying it’s better doesn’t say much. While Banks isn’t as offensive (and the story is overall better), it’s hard to ignore how crippling the writing is. The third-person omniscient writing is so detached. The epilogue features some dry history about the world. That section is more interesting since such writing fits when you look at things from a distance.

The story is an adventure. Why does Banks tell it like it’s a history book? It sucks out all the excitement and it’s more offensive when the story is very close to being fun.

The distance ruins any character development Banks was attempting. They never become psychological or grand-mythic, but even a little personality injects life. There’s something about Horza being a badass, Wubslin being an obsessed engineer and the drone being unpleasant to everyone. I’m not sure what it says about the novel when only a drone has unique reactions to things.

How characters react to the world around them is too generic. One is a little more apathetic. Another is more confident. There are no quirks, no special modifiers to these reactions. Unimaginative authors should at least be capable of repetitive archetypes. Banks’ characters don’t even qualify as that. If one character had a trait where they’d swear more than everyone, they’ll be more lifelike than everyone else.

Banks also has a weird obsession with exactness. The world ‘kilometer’ repeats itself often. The exact measures and structures of everything will haunt you in your sleep. Not only Banks is into writing history books, he also enjoys writing instructions manuals on how to build a ship.

Now, such manuals have no room for exciting or beautiful prose. Their purpose is to give the exact details. How exact can you be with fiction? Banks forgets something crucial. All these ships and planets aren’t actually real. Describing their exact size doesn’t make then any more so.

We don’t experience the world in measuring units. First of all, we perceive things as ‘big’ or ‘small’, as ‘long’ or ‘short’. Fiction is human thought and it should connect our thoughts. You use descriptions to make the reader understand what it feels like to witness the destruction. Some authors use a pile of details for this, but the good ones never gain their strength from being exact. Shopping list as a writing technique is about creating a variety of images.

The writing isn’t shopping-list style. It simply relies on being very exact. All it does is making you either feel confused (Because the exactness doesn’t give a proper image of what it feels like) or sucking out the life out of the prose. I’m not sure which is worse and it often happens at the same time.

The epilogue is perhaps the best part of the novel. Although it’s dry history, the prose works there. Maybe Banks is more interested in huge stories thna small adventures. After all, this series became huge. Sadly he was too scared to write a full book in this style and instead we get this dry adventure.

If you’re into shenanigans about traveling in outer space, explosions and weird cultures there’s fun to be had here. It’s buried under layers of dull prose. Nothing about is offensively bad. I never got the urge to put it down but I never got much of one to pick it up. Make of that what you will.

2 kilometers out of 5