Written concurrently with last year’s ÔÇÿRewind the Film’, it’s more accurate to describe ÔÇÿFuturology’ as a counterpart than a follow-up to September’s acoustic reflection on middle age. Indeed, a lot of the songs here give a comforting feel in contrast to the heartbreaking moments of ÔÇÿRewind the Film’.
The opening title track bubbles through its verses until a soothing Nicky Wire vocal “one day we will return no matter how much it hurts” rolls over the song and guides us to lead single ÔÇÿWalk Me to the Bridge’. Starting with menacing guitars, James Dean Bradfield’s voice prowls along until the band spring into life, “I reimagine the steps you took, still blinded by your intellect”. Its euphoric, a self-described “classic Manics single” and the standout of the album.
From here the record alternates between the krautrock influence of ÔÇÿLet’s Go To War’ and ÔÇÿEuropa Geht Durch Micht’ (featuring a jarring barked German verse by actress Nina Hoss) and more melodic tracks ÔÇÿNext Jet To Leave Moscow’ and the airy ÔÇÿDivine Youth’. Musically the Manics are inspired, with Beatles-esque harmonies on ÔÇÿBetween the Clock and the Bed’ and a disco bassline on instrumental ÔÇÿHughseovka’.
Lyrically the album sees Wire indulging in self-parody “So you played in Cuba, did you like it brother? I bet you felt proud, you silly little fucker”, technology “Upload your future, download your past”, and money “it just buys a new way to disguise a freedom you don’t own anymore”. ÔÇÿThe View from Stow Hill’, a lament about the stagnation of Newport, is frustratingly let down by its social media references; the thoughtfulness of this bands music is normally an escape from exactly that kind of tedium. ÔÇÿMayakovksy’ is a welcome blast of instrumental energy to ensure the album doesn’t end on a duff note.
Some early reports were eager to brand this record “the Holy Bible part II” but, despite a few musical nods to their 1994 cult favourite, it’s a disservice to the band to look back as they drive forward. The title ÔÇÿFuturology’ is no coincidence.
