In August, the Manic Street Preachers made a triumphant return with their electrifying single, ‘Decline & Fall’ – their first new release since the 2021 chart-topping The Ultra Vivid Lament. Along with the infectious track came the exciting announcement of their 15th album, Critical Thinking. While ‘Decline & Fall’ captured the essence of the classic Manics sound, it was initially regarded as a slightly safe choice for the lead single. However, the subsequent release of three more tracks – Nicky Wire’s fronted ‘Hiding in Plain Sight’, the anthemic ‘People Ruin Paintings’, and the introspective ‘Brushstrokes of Reunion’ – offered a thrilling glimpse into the album’s depth. The latter, in particular, evoked echoes of their earlier work, leaving us eager to dive into the rest of the album.
Not only does the album mark the first time Nicky Wire has taken the lead vocal on one of the band’s tracks, but it’s his unmistakable voice that kicks off the album. Unlike anything that they’ve released before, the powerful title track sees him delivers a fiery rant about society’s growing collective ignorance. ‘Decline & Fall’ follows, boasting a catchy chorus that’s sure to be sung back by fans at the band’s upcoming shows, before ‘Brushstrokes of Reunion’ makes a strong impression with its emotive power.
‘Hiding in Plain Sight’ sees Nicky step up with his vocals, though that’s not to say that James Dean Bradfield takes a backseat. The poignant track showcases his beautiful melodies, which sit perfectly alongside Nicky’s reflective lyrics. Next is ‘People Ruin Paintings’, a stirring track that’s greatness goes beyond its signature guitar riff – that we’ve come to expect from James – and Nicky’s effortlessly light bass line. The lyrics tackle humanity’s insatiable addiction to discover and exploit, adding a sharp, insightful edge to the song.
One of the album’s standout tracks is ‘Dear Stephen’ – a heartfelt postcard Nicky penned to Morrissey, capturing the complex reality of loving art when its creator has let you down. While its clever lyrics, woven with snippets from Smiths tracks, stand tall, it’s James’ chiming guitar work that truly shines, drawing clear inspiration from and echoing the distinctive style of Johnny Marr. ‘Dear Stephen’ isn’t the only track on the album that references another artist. Penned by James, ‘Being Baptised’ is a nostalgic track where he reminisces about a memorable day spent in the company of Allen Toussaint in the early 2010s. The song captures the profound influence of that encounter, with its lyrics recalling the warmth and wisdom of Toussaint, whose legacy in shaping the soul and R&B genres is undeniable. Through its heartfelt lyrics and soulful melodies, ‘Being Baptised’ becomes not only a tribute to Toussaint but also a deeper exploration of how fleeting moments with musical legends can shape one’s own creative journey.
‘My Brave Friend’ is an intensely personal track that delves into the emotional weight of losing a close friend, with James’ voice carrying a raw vulnerability. Its depth hits even harder when viewed through the lens of the band’s history, especially given the public knowledge of the disappearance of their guitarist, Richey Edwards, in 1995. Opening with a heavy dose of synths, ‘Out of Time Revival’ offers a striking juxtaposition. However, the Manics know exactly what their audience craves, and it doesn’t take long for the rock and roll sensibilities to take the reins.
Despite its deeper themes of introspection and the passage of time, ‘Deleted Scenes’ carries an undeniable exuberance, making it one of the more uplifting tracks on the album. Balancing the more anthemic and urgent tracks with something more thoughtful and meditative in a way only the Manics can, ‘Late Day Peaks’ follows. As the penultimate track on the album, it delves into the idea of finding meaning or revelation in unexpected places or moments, offering a reflective pause before the album’s conclusion.
Though three sets of lyrics were written by James, Critical Thinking feels very much Nicky Wire-led. After delivering the opening track, he also takes charge of the closing number, ‘One Man Militia’ – the only other track that matches the somewhat menacing vibe created by the instrumentation of ‘Critical Thinking’. The key distinction, however, is that ‘One Man Militia’ features an infectious, earworm chorus that sticks with you long after the song fades.
It’s always a pleasure to dive into a new Manics album, and while Critical Thinking may not be as experimental as some fans had hoped, it delivers everything we love and expect from the band. In a time when many lyrics can feel meaningless, that’s never the case with the Manics. Their political sharpness is as sharp as ever, and their infectious energy permeates the entire album. All in all, Critical Thinking is potentially their freshest release since Futurology in 2014.
Critical Thinking is out now on Columbia Records
