Manic Street Preachers - "Everything Must Go" (1996)

Everything Must Go is one of those records borne out of so unique circumstances, that it bleeds into everything about it: the sound, the lyrics, its legacy. This is the Manic's fourth record, and first without guitarist and joint lyricist Richey Edwards. Edwards disappeared in early 1995, and was never seen again. This had an expectedly huge impact on the band, and drastically shaped the tone and sound of this record.

The previous MSP records were a much heavier, glam-y punk affair; whereas on Everything Must Go the group shifted to more accessible alternative rock and britpop sound. The whole record is drenched in existential angst. There are so many lyrics revolving around the themes of disappearance, escape and rejecting the past / embracing the new; and the tracks that don't focus on these still ponder the meaning of life, isolation and mental and physical health. This is aided by gorgeous string sections on a good chunk of these songs that swell up in the climaxes, building so much intensity to accompany the gripping passionate vocals from James Dean Bradfield.

Take for example the lead single, A Design For Life. This track is the most reliant on the strings, to the point where the guitar line is just there as a framework for them to expand upon. They swell up and come crashing back down as the band laments the apparent meaninglessness of life. "We don't talk about love, we only want to get drunk / And we are not allowed to spend, as we are told that this is the end", Bradfield howls during the chorus. It's so raw and cathartic, and is one of my favourite songs of all time. The title track is similarly orchestrated, although has more of a triumphant perseverance to the tone and melodies of the song. Nicky Wire, the band's primary lyricist, claims the song is a message to fans, hoping they would accept the group's new sound. But Bradfield's incredibly personal performance makes it feel like the song is directed towards Edwards, hoping that where ever he was, he would forgive them for their change in direction. On top of this, some of the lyrics feel like they've been written from Edwards perspective, as if he's apologising for leaving his friends. It results in an incredibly multilayered and emotional song.

The band channel some of this existential dread through songs named after and about real people. Kevin Carter's lyrics were written by Richey Edwards before he disappeared, about the South African photojournalist who committed suicide in 1994, while battling mental health issues and PTSD from the things he had seen. The track is deceptively uptempo, and features a horn solo of all things. Interiors (Song for William de Kooning) is inspired by the Dutch painter who suffered from dementia and couldn't remember his own work. The intertwining of the guitar and vocal melodies on the chorus give the track a real energy to it.

The opening cut, Elvis Impersonator: Blackpool Pier, is one of the few tracks that doesn't really explore the rest of the albums themes - instead tackling the apparent acceptance of American consumer culture within the UK. It unravels from a gentle acoustic tune as the roaring guitars and anthemic chorus come round. Small Black Flowers That Grow In The Sky likewise is about animal abuse, according to the band. Yet the lyrics, written by Edwards, could easily be interpreted as about his worsening mental state. There is some really off-putting imagery in the song, which is a stripped back acoustic one with reverber-y harp and gentle piano keys in the background. It has a very otherworldly and ethereal vibe.

Exploring the lyrical content in such detail makes the album seem really dour and heavy, but it really is a loud, uptempo and raucous record despite this. Some of the tracks aren't so gruesomely detailed. Elona / Alone and The Girl That Wanted To Be God are anthemic and emotional without being as lyrically bleak. Australia might be the loudest and most rocking of all the tunes. The track is about running away and starting afresh, and is about as balls to the wall as Oasis' most 'epic' songs. Overdriven guitars fly everywhere over the top of this ascending chord progression and Bradfield's absolute belting of the chorus. He genuinely sounds like he could not be singing any louder.

The closing moment, No Surface All Feeling, is the rawest moment on the record. It's the only track that features guitar work from Richey Edwards, and is simply the band opening up and falling apart about losing him. Its noisy and grungy, and has so much emotion oozing out of it. It really leaves the album in a vulnerable place after 45 minutes of them trying to figure it all out, and finding no answers.

I do really recommend this record, it's profound and existential and cathartic; without ever being morose or overly depressing. A lot of what's being said here is layered in the subtext, and rewards multiple listens. Yet the emotion and meaning translates through the performances, so it feels important even on the first listen. I'm really looking forward to checking out the groups previous record, The Holy Bible, as it has quite a cult following - being the last one featuring Richey and before the group hit the mainstream.

Top Tracks: Elvis Impersonator: Blackpool Pier, A Design For Life, Elona / Alone, Everything Must Go, Small Black Flowers That Grow In The Sky, The Girl That Wanted To Be God, Interiors (Song for William de Kooning), Australia, No Surface All Feeling

8/10