Journal for Plague Lovers: A Track-by-Track Review

1. ‘Peeled Apples.’

Opening with the eerie extract of ‘You know so little about me: what if I turn into a werewolf or something?’, the opening track of the record is an absolute cracker.  A sneering, military beat straight out of the Holy Bible school of songwriting combines with a swaggering guitar riff, adding up to possibly the finest track on the record.

The Richey Edwards award for the most eloquently bleak lyric: ‘Riderless horses on Chomsky’s Camelot/Bruises on my hands from digging my nails out.’

2. ‘Jackie Collins Existential Question Time.’

Possibly the craziest title the Manics have ever come up with?  Quite possibly, but this is another beauty.  Beginning with a layer of delayed guitar harmonics that wouldn’t sound out of place on a U2 record, the song erupts into a cacophony of riffing and Bradfield’s demented bellowing.  Marvellous.

Richey Edwards award for the most eloquently bleak lyric: ‘Tonight we beg the question/If a married man f**ks a catholic/and his wife dies without knowing/does it make him unfaithful?’

3. Me and Stephen Hawking.

A stop-start riff reminiscent of Everything Must Go’s ‘Australia’, it reverts to a quiet, almost jazz-like chorus that manages to maintain an air of…well, affection, before reverting back to the main riff for the close of the track.  Another great song, and three out of three great songs so far.

Richey Edwards award for the most eloquently bleak lyric:  ‘Transgendered milk containing human protein/the bacteria cheaper than baby food/Injection today/Today it’s a cow, tomorrow it’s human.’

4.  This Joke Sport Severed.

The first ballad is a strong contender for the most depressing song on the record, but it’s still a good one.  Bleak lyrics showcase James Dean Bradfield’s remarkable gift for turning the most unstructured ramblings of Richey’s mind into something that you can hum.  Initially based around Bradfield and his acoustic guitar, the track ends with a beautiful mix of strings and growling, moody electric guitar.

Richey Edwards award for the most eloquently bleak lyric: ‘Jealousy sows rejection with a kiss/In silken palms that tear bone from skin.’

5. Journal For Plague Lovers.

Being the title track is often the kiss of death for a song, bringing with it extra focus and expectation.  Luckily for the Manics, this is a great all out rocker, and a strong contender for a future single.  If you’re a fan of Gold Against The Soul, you’ll love this one.

Richey Edwards award for the most eloquently bleak lyric:  ‘Pretend prayer/Pretend care/Makes everything seem so fair.’

6. She Bathed Herself In a Bath of Bleach.

If there was an award for bleakest title, this would win it hands down.  However, those of you expecting another ballad will be surprised: this is musically the most up-beat track on the record, and reports from the early concerts indicate this has become a live favourite.  A huge chorus and a great riff: what more do you need?

Richey Edwards award for the most eloquently bleak lyric: ‘She’d walk on broken glass for love/She thought broken glass would please her lover.’

7. Facing Page: Top Left.

Having been described by Bradfield on tour as being ‘An absolute bitch to play’, Facing Page is the second ballad of the record.  It’s feel is strongly reminiscent of ‘Small Black Flowers That Grow in The Sky’, Bradfield’s delicate acoustic arrangements mixed in with what sounds like a harp playing in the background would make for an almost comfortable listen, if it wasn’t for some of the most depressing words on the record.

Richey Edwards award for the most eloquently bleak lyric:  ‘Here is oblivion/bathed acid red/Mutually discolour, skin cancer, calories.’

8. Marlon J.D.

Initially coming across as one of the album’s weaker cuts, Marlon J.D is definitely a grower, and is another song to have been gaining positive reports from the Manic’s live concerts.  Some of the track’s power is lost due to Bradfield’s vocal performance, which seems based more around semi-talking the lyrics, rather than lending them his undoubted talent for an earnest roar.

Richey Edwards award for the most eloquently bleak lyric: ‘He stood like a statue/As he was beaten across the face/With a horse whip/Where the wounds already exist.’

9. Doors Closing Slowly.

Based around a simple, marching beat, and minimal instrumentation, this is the first track to come across as nothing but filler.  Clocking in at a short 2.51, it is hard to see how the record would suffer without this song on it.

Richey Edwards award for the most eloquently bleak lyric: ‘That shadow is a cross okay/Judgement must willing today/Silence is not sacrifice/Crucifixion is the easy life.’

10. All Is Vanity.

A return to form after the previous track, we are blessed with another sneering, Holy Bible style riff and a great dominating, full-of-attitude vocal performance from Bradfield, who sings the cynical refrain of ‘That’s a fact of life, sunshine’ with glee.

Richey Edwards award for the most eloquently bleak lyric: ‘Pretend humility, the ugly lie/I would prefer no choice’

11.Pretension/Revulsion.

Even on such an unconventional record, this track is the weirdest of beasts.  Possessing a lazy,  slouching riff that would fit quite snugly into an Oasis record, it jolts into a raging chorus that seems devoid of any real hook.  Unusual, bizarre and out of place, even on this record.

Richey Edwards award for the most eloquently bleak lyric:  ‘Sickened and housed street death’s burned
/Blacked, lived, compelled and cold.’

12. Virginia State Epileptic Colony.

Despite being nudged into second place by Jackie Collins for the weirdest title on the album, this mid-pacer finds it hard to stand up against the earlier, stronger cuts on the record.  Possessing neither the roar of Bath of Bleach, or the sneer of Peeled Apples, this mid-pacer pips Doors Closing Slowly as the weakest track on the album.

Richey Edwards award for the most eloquently bleak lyrics: ‘Today the doctors allow the illusion of choice/Tomorrow the neck’s split, there is no voice.’

13. William’s Last Words.

Nicky Wire sings on this track.

Yup, you read that right.  The lead vocals on this track – a song that many fans are voicing could be Richey’s suicide note – are provided by Mr Nicholas Wire.

Once you’ve got past the sheer oddness of a Manics song without Bradfields impassioned voice, the bassist’s dull tones actually provide a strong sense of catharsis to the depression and disappointment that has preceded this song. For the first time, the Manics, and Richey, sound peaceful.  It’s a weirdly beautiful end to a weirdly beautiful record.