In a 1982 interview with Heavy Metal Magazine, author JG Ballard envisioned the future in this way: “Everyone will star in their own porn films as an extension of the Polaroid camera. Electronic devices, especially home computers, will facilitate an inner migration, allowing people to opt out of reality. Reality will no longer be what exists outside but will become what resides in your mind.”
This concept of ‘inner migration’ has been on Nicky Wire's mind for some time.
A blend of philosopher, poet, and politics graduate, Nicky Wire – along with Richey Edwards – played a pivotal role in establishing the ethos and image of Manic Street Preachers, becoming the main lyrical provocateur after his friend’s disappearance in 1996. A masterful wordsmith and powerful stage presence, the bassist is a distinctive force in contemporary music, functioning within a band that, in reality, has very few, if any, true rivals.
Opinionated and thoughtful, the Welsh group has consistently scrutinized the world around them, presenting their findings to the audience through various styles: from the glam rock influences of ‘Generation Terrorists’ and the haunting post-punk of ‘The Holy Bible’ to the smooth, synth-driven sounds of ‘Know Your Enemy’ and ‘Lifeblood’. While their musical style – shaped by Nicky Wire, vocalist and guitarist James Dean Bradfield, and drummer Sean Moore – has evolved over their 37-year journey, their lyrical themes have largely remained constant. Although the rawness of their early work has mellowed with the introspection of middle age, their critiques of the world remain as sharp as ever.
“We’ve never had more glittery lights, but it’s all overshadowed by an inner darkness,” Wire remarks regarding the current societal state, alluding to Ballard's theories. These themes influence their 15th studio album, ‘Critical Thinking’, which delves deeper into history and nostalgia, personal accountability amid oppressive systems, and the overwhelming information overload of the digital age. In the title track, Wire criticizes what he terms ‘fridge magnet philosophy’ with a sense of urgency and bitter cynicism, repeating phrases like: “It’s OK to not be OK / Live your best life / Be kind,” in a flat tone that exposes the emptiness of the 21st-century's ‘Keep Calm And Carry On’ mentality. Such simplistic notions, amplified by social media, benefit no one but the corporations that may one day monopolize our mental space, diminishing the public's capacity for critical thought about authority and exacerbating societal alienation.
“I’m currently reading a book called Shadow Work by Craig Lambert, which discusses how corporations now shift every responsibility onto individuals, whether it’s about online banking or artists marketing their own work...” Wire shares with CLASH over the phone. “All these enormous companies have absolved themselves of their responsibilities, placing them onto either the consumer or the creator. It’s a grim situation to be in because it leads to a constant feeling of anxiety.”
While it’s easy to criticize these large corporations for creating such an atmosphere, Wire is also interested in examining his own involvement in this dynamic and how we can sometimes be passive in the face of authority. “This album is very much a reflection on myself,” he admits. “There’s definitely a hint of misanthropic fervor in my work,” he laughs, referencing tracks like ‘OneManMilitia’ and ‘People Ruin Paintings’. “But most of the lyrics reflect my own shortcomings and complexities.” This self-scrutiny is why the concept of ‘critical thinking’ holds so much importance for him – as a means to keep himself grounded and avoid succumbing to the deceptions presented to him and to us.
“I view critical thinking as the ability to reject what you know isn’t truthful – being able to say ‘no’ to the information being disseminated,” he clarifies. “One of our main focuses is resisting echo chambers. I make a point to read The Guardian, The Daily Mail, and The Times – if you want to defeat your enemy, you’ve got to bloody understand them, you know? It’s detrimental to remain trapped in an echo chamber.”
Since the release of their debut in 1988, the band has observed the world change around them in alarming ways. The swift advancement of technology, the rapid growth of capitalism, and the increased power wielded by corporations have seeped into every facet of our lives. For the Manics, the nostalgia evident in their lyrics isn’t so much a yearning for youth, but a comparison of opportunities available to them as young people versus those faced by today's youth. “It’s not a warm, fuzzy longing for the past,” Wire clarifies. “I genuinely try to place myself in the shoes of a different generation and compare the challenges they face.”
“Young people today must feel trapped. Everything in their lives seems hard to escape. In contrast, I
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In a 1982 interview with Heavy Metal Magazine, the author JG Ballard foresaw the future as follows: “Everyone will be