Add Date: September 12
Artist: Manic Street Preachers
Album: Journal For Plague Lovers
Label: Columbia
Genre: Alternative Rock
Comments: To start of this review with perfect honesty, I'd never listened to the Manic Street Preachers before, or at least wasn't aware that a song by them was something I had heard before. Part of this is due to my total lack of understanding of 90's British music, and part of it might be that I sort of lumped them in with the Reverend Horton Heat (hey it's a totally honest mistake they both have three words and have religious references right right). So, for an album that is taking lyrics from a missing bandmate and setting them to music, it seemed a
little logical to hear at least one album before them. And being super logical, I picked "The Holy Bible," which was the final album from said missing bandmate, and apparently the last album from this band before they decided to try to beat U2 at their own game.
One problem is that I keep forgetting that alternative rock "dark" is different from my definition of "dark." Stuff like Foetus makes "The Holy Bible" about as dark as an episode of Arthur (though to be fair Arthur is a little morbid for a kid's show), but yeah for stuff that non-horrible people listen to, this is pretty dark stuff, like a slightly more palatable Fugazi with all the experimental stuff taken out in place of ALL POST PUNK, ALL THE TIME. And hell, "Faster" is a hell of an effective single.
So, without really waiting, I put on "Journal For Plague Lovers."
For better or worse, it's not a retread of "The Holy Bible." It's certainly not post-punk, sounding ironically more like all those other 90's British bands (I have to say that if this is a much harder album than the post-Bible albums by Manic Street Preachers as implied by reviews, I'm a little scared at how those sounded). This is kind of a detriment, for while The Holy Bible manage to hide its struggles at inserting frankly completely insane lyrics into coherent songs by pushing the noise to eleven, "Journal For Plague Lovers" simply attempts to straight face it. This works as long you don't actually listen to the lyrics, otherwise alot of the songs are like a businessman in a meeting talking about how Obama's birth certificate is on the moon that we never visited. There is a decent variety of songs, and while none are particularly catchy (with the exception of the New Order-ishy opening of "Marlon JD" and the creepy arrangement in "She Bathed Herself in a Bath of Bleach."
A final thought. Before I started reviewing the album, I read the whole backstory of the band, and was totally pumped to write a great review, either excoriating the band for basically profiting off the lyrics of their dead dude, or writing how the band miraculously used the lyrics to create this great work. Of course, as is often the case, the reality is pretty lame: it's a good album with an irksome little gimmick that slightly overshadows the actual music.