If Nick Wire were a cartoon character, his pupils would probably be clearly visible now: as two red-hot, wild-pulsing circles, powerfully shining through his closed eyelids and the pitch-black lenses of his huge sunglasses. No question: the tree-length bassist of Manic Street Preachers is in love. Scratched up, the 35-year-old fidgets on a sofa at the Hyatt Hotel on Potsdamer Platz and raves about the renewed passion for his permanent relationship called the band - and the resulting baby: 'Lifeblood', a rather quiet, gentle child. After three years break and months of trying out in the studio, it finally worked. "For the first time in eight years we were completely in love with the idea of playing in a band," says Nick, plucking at his socks.
"For the first time, there's more love than hate on a Manics album. We realized what a precious thing it was to be able to play in a band and experience this moment of creation. "The young father grins his way through his crotch and looks at me with closed eyes. But this does not sound so life-affirming. Recurring themes of the album are ghosts, farewells, memories and loneliness. It is more of a general consideration of death. »There are two themes from a lyrical point of view: 1: Loneliness is a positive thing. I've had the best times of my life when I was alone, and so are the rest of the band.
Death - it looks like it's trivialized today, made a sensation. I realized what an overwhelming, massive, unimaginable thing he really is. We have to respect death more. Life has become cheap, and even death has become cheap. "One of the few political songs on 'Life Blood' is 1985 in comparison to the past.
Is this the breeding phase of what later became the Manic Street Preachers? "In 1985, the year we really got to know each other was sitting together in our youth rooms, retreating from the outside world into a cocoon of music, literature and art. We've also tried that with the new record: Stop listening, worrying about what everyone else is doing, focusing more on our own stuff and making the best of ourselves. The song is a kind of ritual passage. "So entering a new phase of life. The street likes to leave the domestic family fathers to the whole Bonos and Green Days. They wanted to add their political mustard to Know Your Enemy three years ago: "Freedom Of Speech ... was a prophecy then," Nick points out. He has now come to rest on his sofa and lolls relaxed.