Manic Street Preachers’ Nicky Wire drops his new solo album ‘Intimism’ – check it out below.
After recently dropping lead single “Contact Sheets,” the Manics bassist and vocalist has shared his second full-length solo album via BandCamp.
“This record is a collage put together over the last ten years,” says Wire, “I can be there: a distillation of my purest indie fantasies, where all those chartbusters that have been made to reshape their regrets. a musical and lyrical language that I can call my own. A landscape of holocaust miracles, inner monologues and searing self-loathing.'”.
Wire released his debut single “I Killed The Zeitgeist” in 2006, and fans have been waiting years for news of this “modern, electronic, guesswork” record.
“It’s done,” Wire told NME in 2021. “Whatever I could bury it in a fucking pond somewhere, I might burn it, I might post it, I might I’d do it on Bandcamp. It’s fucking fragile. It’s got some modern jazz and some indie C-86 vibes.”
He continues: “There’s some Miles Davis from the ‘Bitches Brew’ era, some dark trumpet and some songs that sound like The Shop Assistants. Gav appears in it. [Fitzjohn] for the trumpet to be [Moore, batería y trompeta] reject contact. He says his lips are gone.”
Speaking to The Quietus about the album’s spirit, Wire said he wanted “Intimism” to be “as much of me as possible”.
The artwork is just a Polaroid of me,” he says, “and I don’t want them to make a show of pretending this album isn’t a thing.”
“I’ve tried to imagine myself as a 16-year-old boy, walking into Spillers [la tienda de discos de Cardiff]like James and I at that age after busking to get money to buy the new Triffids record, The Go-Betweens or the Shop Assistants.”
I hate the phrase “the authentic me” because I have no idea what it means. There was an art movement called ‘intimism’, which included Ms. Gwen John, who I’m a big fan of, and which included these pictures of the interior, almost sacred in their rawness. I always liked it because I love the global nature of the interior. You don’t know how many summers my brother and I spent closing the curtains and watching crack all day. It was precious.
“There’s a phrase on the album: ‘I’m no longer a socialist. The social part leaves me cold.’ I’m still a socialist and believe in it, but I’ve always had problems with its community and social aspect. I see so much emotion and beauty in things like my memory of being 12 years old and being in my living room watching Steve Davis get the first ever 147 in the Lada Classic on black and white TV.”
Having published books and staged exhibitions of his work with Polaroid images, Wire spoke of the medium’s profound influence.
“Years ago, when I was on tour with the group, I would get up at 7:30 in the morning and go out to whatever city we were in to take between 30 and 50 Polaroid photos,” he explains. I would go back to my room and put them in the hotel envelope. I haven’t looked at any yet. It’s a kind of artistic experiment.”
“Those trigger points were very impactful and framed the sense of fragmented memory that sets the album apart.”
Images of the band working on the follow-up to 2021’s critically acclaimed ‘The Ultra Vivid Lament’ from The Manics have recently emerged.
Earlier this month, the band were one of the highlights of Glastonbury festival after storming The Other Stage with a set that paid tribute to Richey Edwards, including deep cuts of the cult classic “The Holy Bible” as well as singles and favourites. fans who hit. , and included two duets with longtime collaborator The Anchoress.