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on 7 July 2017
Possibly one of their best to date - miles better than lifeblood - good tunes to go with a bit of lyrical genius. nice.
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on 10 October 2013
Most negative reviews of this album are pre-emptive; people need to give it more time to get over the shock of hearing something so different from the manics. This isn't the anger and despair found on GT or HB, this is a much more relaxed, nostalgic approach, which is only natural considering the band themselves are no longer the angry twenty-something's they were in 1992.

This Sullen Welsh Heart is very melodic and captured my attention from the start. I've heard a lot of people claiming it as their favourite from the album. It's hard for me to choose a favourite, but that song would be one of them. A perfect start to the album as it sets the tone and makes the listener realise that this is a very different outing for MSP.

I won't review each song individually, but if you are looking for a hint of the old manics, then check out the last song on the album, "30 Year War". It has a lot more drive behind it and may suit your tastes.

Overall, I find myself putting on this album to hear the first song and end up letting it play right through until the end. It is one of those albums that takes you on a journey. The deluxe version is worth the purchase to hear variations of the tracks and without any collaborations.
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on 23 November 2013
Fantastic album by one of the best band around! I think so anyhow! Please buy this CD! It is A1
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TOP 500 REVIEWERVINE VOICEon 25 November 2013
I'm going to come clean; I really didn't care for this album at all when I first listened to it. I've been a Manics fan for a couple of decades now and, the first time I heard "Rewind The Film", I couldn't remember feeling so completely underwhelmed and disappointed in a piece of work from James, Nicky and Sean. Thankfully, I persevered and, over the following weeks, listened to it occasionally until some of the tracks started to shine and then, over the past month or so, I've been putting the album on by choice, rather than to give it a chance, as I was before. It is now my opinion that it's an absolute corker of an album and I love pretty much all of it. I think it's fair to say that it's really quite different from any other Manic Street Preachers album, it's mellower, gentler and much less sonically hard-hitting. Of course, this means that when they do a little of their trademark, explosive big chorus type-thing, such as in the album's sublime title track (featuring the superb Richard Hawley on vocals), it is to great effect.

The album starts with a very soft, defeated song, "This Sullen Welsh Heart" (featuring Lucy Rose) and then bursts into life with the brilliant "Show Me The Wonder", resplendent with punchy brass lines, one of the few songs on this album that has the patented Manics sound. There are many other highlights on this beautifully crafted piece of work. The title track, as I've already mentioned, is fantastic, the gorgeous "Anthem For A Lost Cause" uses strings, brass and those echo-laden backing vocals the Manic do so well to great effect and "As Holy As The Soil (That Buries Your Skin)" is a slow-burner that starts gently and builds into a powerful, soulful beauty. The bleak but majestic "3 Ways To See Despair" is possibly my favourite track on the album (the demo on the bonus disc with the children's chorus is chilling, almost wish they'd gone with that!), "Manorbier" is an almost Western-like instrumental and "30-Year War" has to get a mention for the angry, anti-establishment lyrics alone, which talk about killing the working class "in the name of liberty", "the endless parade of Old Etonian scum" lining the front benches, and the old boy network winning the war again. Powerful stuff that shows that Wire hasn't lost any of his lyrical cutting edge.

All-in-all, this is rather a special record, but it took me quite a long time to appreciate and enjoy all of the tracks completely, so I can understand why some fans have been a little underwhelmed by "Rewind The Film". However, perseverance is the key and, once you really get to know all of the tracks, it will be a surprise that you didn't realise how brilliant the album was in the first place. I tried to listen to all of the demo versions on the bonus disc before I knew the songs properly and found it to be a really unrewarding process, but after I began to really enjoy the main album I revisited the demos and found them to be a wonderful companion to the finished recordings. The band really need to be congratulated for releasing something so different and for having the courage to record something they probably knew would challenge a lot of their fan base. Having said that, surely the majority of their fans (they tend to be an intelligent lot) must realise that the band can't keep on pumping out albums that are sonic duplicates of their most successful pieces of work and, as such, this album is probably a taster to suggest that being a Manic Street Preachers fan is going to be very interesting in the coming years.
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on 16 September 2013
Rewind the film - the new album by the Manic Street Preachers. Been listening to it non-stop since I got it. It is a jewel of a record. Gentle, fragile, with emphasis on acoustic guitar. Add in spooky electro-pop and nods to sixties soul. Its themes are childhood memories, loss, nostalgia. Each song has a glorious tune, they snag in the mind. Its haunting but uplifting stuff. They locate the beauty in sadness. Highlights include 'This sullen Welsh Heart' - 'the act of creation saves us from despair' - and title track, 'Rewind the film' ('I want to feel small/lying in my mother's arms/playing my old records/hoping they'll never stop'). Check it out, it is a joy.
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on 17 September 2013
This is not a rock and roll album. I also maintain that it bears little resemblance to any other Manic Street Preachers album, except perhaps `This Is My Truth Tell Me Yours', and there are still differences.
The album opens with `This Sullen Welsh Heart', and Nicky Wire proclaiming "I don't want my children to grow up like me", setting an immediately reflective tone which is in place for most of the album. This song also features vocals from Lucy Rose, a delicately-voiced, critically-acclaimed singer from Warwickshire whose vocals here perfectly compliments James Dean Bradfield's, whilst also suiting Nicky Wire's soul-searching lyrics, such as "It's not enough to succeed, others must fail". Dissatisfaction, a common Manics theme, is here in abundance.
`Show Me The Wonder', the first single from the album has definitely grown on me. To begin with, I wasn't entirely sure about it, and it is certainly a lot poppier and more upbeat than a lot of Manics singles, there is no denying that when they want to, the Manics can write a catchy song, albeit using lyrics about "the birthplace of the Universe". For this single, they have embraced an old, nostalgic, cabaret style sound, with plenty of trumpets. It works well, after the initial shock of hearing the manics complete departure from anything resembling their rock `n' roll/punk roots.
My personal highlight of the album was the title track. `Rewind the film' contains vocals from Richard Hawley, with James Dean Bradfield joining in approximately halfway through. I consider the song a masterpiece. Richard Hawley plays Hawaiian guitar which begins beautiful, delicately, about thirty seconds in, like some exotic flower opening. The musical arrangement here is stunning, containing viola, violin and cello, and Hawley's voice has scarcely sounded so good, deep, resonant, but also strangely beautiful, with the entire song playing out in a hazy, dreamlike way. This song contains many elements of a piece of music called `A Little Girl Lost' by David Axelrod, but the original version contained no vocals, and in my opinion, Richard Hawley's vocals lift this into classic Manics territory. The title is actually very apt, since this piece of music reminds me of a film soundtrack. It would greatly suit a David Lynch film, or perhaps a Luc Besson film.
`Builder Of Routines' starts with an immediately distinctive intro using what sounds like a Xylophone. This song contains a sad lyric about hating middle-age, and startlingly, the lyric "so tired of being 4 real". Again, this song, in the minor key, and featuring sad-sounding trumpets, conveys many of Wire's favourite themes of disillusionment, dissatisfaction, and the feeling of a man trying to come to terms with getting older - something which crops up frequently on this album.
`Four Lonely Roads' is easily one of the most beautiful songs on the album, featuring vocals entirely from Cate Le Bon, a distinctively voiced Welsh singer who embraces many of the same lyrical themes as the Manics. Here, her voice is understated and pretty, towards the end accompanied by beautiful pianos. The arrangement creates a song which is simultaneously sad/beautiful, a juxtaposition which the Manics have always used to great effect. Wire's lyrics, about being `trapped in skin' and `darker hell' have been softened slightly, by using Cate Le Bon as a vocalist. It works well.
`I Miss The Tokyo Skyline' is another of Nicky Wire's travel stories, featuring a lovely piece of violin music and Wire's Love for the modernity of Tokyo and his fondness for it, encompassing the "non-communication", "emptiness" and silence. Musically, this is one of the more uplifting tracks on the album, mainly due to the enchanting violins which appear throughout.
"Anthem For A Lost Cause" a straightforward acoustic ballad, but with more violins, and more keyboards from the fantastic Loz Williams, contains more tender lyrical themes, accompanied by James' gentle acoustic guitar. "Redemption, love and departure" are mentioned as well as a "glittering prize", perhaps a sly nod towards Simple Minds, one of Nicky Wire's favourite bands. The entire song evokes a sense of loss, a common Manics theme.
Nicky Wire takes the lead vocals on `As Holy As The Soil (That Buries Your Skin)' and I maintain that he has come a long way, vocally, from the days of `Wattsville Blues'. Whilst he lacks the same vocal strength and dexterity as James, his voice is in no way unpleasant. Understated, yes, but not unattractive. More trumpets feature here, and saxophone, courtesy of Sean Read, as Nicky sings what essentially is a love song. Changed days for the Manics, but that's a good thing. Maturity brings wisdom, which Nicky possesses in abundance. This lyric also shows Wire's ability to jump from the mundane to the grandiose: "As Holy As The Roman Empire, as holy as the coffee you made for us". Sung by any other lyricist there could be a risk of this sounding awkward or stilted, but with Nicky it comes across as sincere and pure.
`There Ways To See Despair' is another minor key ballad, containing one of Nicky's most confessional lyrics on this album, but also contains an excellent guitar solo which sounds, to my ear, like something David Gilmour might play on `Dark Side Of The Moon'. This isn't a happy song, Nicky revealing that he has seen all three ways to see despair, but hinting that there is also a fourth way, which is yet to come. Perhaps Nicky was on a low when he wrote this, as there seems to be more hope for the future, elsewhere on the album. Nevertheless, the song sounds fantastic, mainly down to aforementioned guitar solo, and Sean Moore's never anything less than fantastic drumming being turned up quite high in the mix.
`Running Out Of Fantasy' is yet another of Nicky Wire's exceptionally confessional and endearingly honest lyrics, and the lyric "I'm old, I'm strange, I'm confidential" is confessional in the same tradition as, for example, `Born A Girl' or `Ready For Drowning', in fact several of the songs from `This Is My Truth, Tell Me Yours". These are definitely not `throwaway' lyrics, nor could anyone ever accuse Nicky Wire of being lyrically lazy. Yes, the Manics have reached middle-age, but they have definitely not become complacent. `Running Out Of Fantasy', a wistful, bittersweet acoustic ballad show a band who are still trying to make sense of the world around them, and perhaps, like most us, struggling to do so: "The Obsession with change has bled me dry".
`Manorbier', an instrumental, has a slow introduction which builds into an uplifting and dreamlike piece of music with more of Loz Williams beautiful keyboards, as well as some soft acoustic guitar which all adds to an atmosphere of beauty - this is definitely one of the Manics most attractive and striking albums, a stark contrast to the likes of `The Holy Bible' or `Journal For Plague Lovers' which were frequently harsh and angular in the great tradition of post-punk, but `Rewind The Film' is certainly no less a work of art than those two albums.
The album closes with another of the album's highlights, the Thatcher-condemning `Thirty-year war'. It's another Manics masterpiece, in my opinion, the type of angry, scornful lyric which Nicky Wire does better than anyone, as he heaps his trademark contempt onto "Old Etonian Scum" and the establishment in general. As a fan, it is pleasing for me to know that the old fire is still there. He is older, and wiser, but nevertheless can still produce polemic better than his contemporaries. His social and political awareness puts the youngsters in today's current crop of bands to shame. This is what great art is for; not just entertainment, but challenging convention, making a point. Musically, the song begins with another nostalgic sounding trumpet solo, moving swiftly into Vangelis-style synths and then a memorable, sing-along chorus, concluding with the question "What is to be done?" Lines such as "blame the poor, praise the rich" really are vintage Manic Street Preachers.
This album is in turns poignant, wistful, reflective, angry, disillusioned, but also, strangely, there are moments of love and hope. It is curiously timeless and cannot be directly placed in a particular musical category, as it spans many different styles and uses a veritable cornucopia of musical instruments. This is part of what makes the Manics so special. They are not afraid of experimentation; there are plenty of musical instruments here - more so than on any other Manics album. What the Manic Street Preachers manage to do is make every one of their albums different to the other in some discernible way. Here, they have created a vast and impressive musical landscape, evoking a myriad of emotions, a variety of moods and a powerful sound. It must be noted that even though they are now firmly rooted in middle-age, there is not a hint of complacency about the Manic Street Preachers. They are not `going through the motions', because if they were, it would come across that way, and it doesn't. There is not a hint of `resting on their laurels' about the Manics, and long may that continue. Even though 2005's `Lifeblood' was a disappointment to me, and many other fans, it wasn't irredeemable and the lyrical themes were still interesting, but ever since then, every Manics album has been of a consistently high standard, and they still continue to explore new musical territory with every album they release. It's ironic that Nicky says in `Builder Of Routines' that he is tired of being `4 real', because as a band, that's exactly what the Manic Street Preachers continue to be.
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on 16 September 2013
I have been waiting for some time for the release of an album that is not only worth buying but that can stand up to some of my favourite albums ever. Rewind The Film is that album. Although it will not make big waves in the world of music it's sheer quality makes it stand out amongst the dross that is currently in the album charts. The greatest achievement of the Manic Street Preachers here is that they have created an album that is so well placed in contrast with their other albums, it's more reflective, more mellow, more melancholic than anything they've done before. There were elements of this more reflective sound in Postcards From A Young Man with despondent songs like Golden Platitudes but Rewind The Film is a seamless album of middle aged reflection and nostalgia.
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on 8 November 2013
Probably one of my favourte Manic Street Preachers albums ever, the tracks have a great sound, and as the lyrics sink in you realise just how amazing they really are, gets better every time I listen. The title track, Rewind the Film is a masterpiece of song writing, it evokes so many images and feelings of lost times, set to haunting, beautiful music, but there are plenty of more lively ones too, like Show Me the Wonder to balance. The videos released so far are perfect accompaniments too.
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on 9 October 2013

I'm a huge Manics fan, ever since a toddler in the 90's I've enjoyed their music. I've given every album a significant of time and dedicated ears (please note I'm not music critic, merely a fan) and can appreciate the bad and the good, and there is plenty of both. I know that not everything they've released is great (then again, which artists can you say have done?). But seeing how they have grown and evolved over my lifetime has been a thoroughly rewarding experience, and Rewind the Film is a surefire beaut, regardless of where you stand with previous manics records.

This album plays like a book of poetry - albeit occasionally clumsy, adolescent poetry - tender, complex and perfectly structured. I'm usually a skipper after a few listens to an album, but listening in full to this one is well worth the patience. As Holy as the Soil reminds me of school assembly hymns, and is a gorgeous homage to Richey and friends departed. Nicky's voice deserves this track and vice versa. Production on the whole album was also remarkable.

However I had one MASSIVE DISAPPOINTMENT with this album. Given the multitude of 4 and 5 star reviews from often hard-to-please publications, I decided to spend the extra few quid to get this supposed masterpiece (and after listening I don't disagree) on vinyl.

Worst sleeve design ever totally ruined the album for me. Taking it out the cardboard casing it is dusted with white flakes from the recently manufactured cardboard sleeve. I cleaned it thoroughly with a record cleaner, yet still had to pause the album several times through as it kept jumping. Record itself is not scratched, just tiny bits of the sleeve that I can't get off. Side 2 was even WORSE, half way through 'As Holy as the Soil..' it started jumping forward every 5 seconds or so. Cleaned again, slightly better but still jumps in the same places. Bits of white I can't get off.

Returned it to sleeve and bought it on CD. Try the vinyl again a few days later and it's back to square one as it's covered in white.

I bought this from Fopp who never disappoint me and is a great store to visit, so don't want to return it to them as why should they lose money for the manufacturers mistake? Totally gutted by this - never had this with manics vinyl before. Hope this is improved for next time.
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on 19 July 2013
First of all I'd like you to dismiss what's been said about 'Rewind The Film' in the run up to it being released, the whole folk tinged no electric guitar myth that's been circulating, MSP haven't turned into The Dubliners overnight and the album does include electric guitars and sure, there's no 'Slash'N'Burn' riffs or 'Archives Of Pain' epic fretwork from Mr Bradfield but the likes of '3 Ways To See Despair' has a particularly fine Pink Floyd-esque solo, don't run for the hills at that comment, like Johnny Rotten I hated Pink Floyd when I was a teenager but you can't deny the genius of 'Wish You Were Here' and the like, the truth is that there are 2 sides to MSP, 'The Holy Bible' side and the 'Send Away The Tigers' side and while they failed to find the third side in 'Lifeblood' I think they might have found it in 'Rewind The Film'.
It's stripped back in the sense that there aren't 99 guitars on every track, the songs have space to breath and if anything MSP are experimenting on this album more than before, a couple of reviews have mentioned that MSP are changing but what doesn't evolve dies, look at Oasis.
The actual album includes 12 tracks with guest vocals from Lucy Rose, Cate Le Bon, Richard Hawley (I have to admit to not being a fan but his sombre vocals work as a good juxtaposition to James) and the lovely Nicky Wire who gives us his Lou Reed meets Nikki Sudden line in vocals (it's also worth noting that Nicky plays some particularly good bass throughout the album), Sean chips in with his french horn and cornet on a few songs which really set each songs out as individuals as well as a collection.
Of course, it's difficult to judge an album on a handful of listens, the reviewers who reviewed it on the day of release and gave it 5 stars I would be dubious of because 5 stars is 'The Holy Bible' and 'Everything Must Go', some MSP fans are blind to their faults and give everything 5 stars (including 'Lifeblood', I kid ye not), ideally I would write this review in a couple months time after submerging myself in listens but by then there'd be 40 reviews and what's the point of another one?
The 'Deluxe' version follows the same line as the last few MSP albums, it comes in a paperback size folder which scratches the discs when you slide them in and includes demo versions of all the songs from the album with Nicky taking the guest vocalist spots, it also includes 5 tracks from the O2 concert last year, some of the demo versions are even more stripped back than the album versions and benefit from that fact and I wonder if they might release the O2 concert on DVD or as a live album as the sound quality is awesome on these last few songs and yes I do realize that James Dean Bradfield said that live albums were nothing but contract fillers but a deluxe double CD with a behind the scenes DVD thrown in, I'd stick that on my list to Santa Claus now.
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