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Generation Terrorists
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Generation Terrorists
Generation Terrorists is the debut studio album by Welsh alternative rock band Manic Street Preachers, released on 10 February 1992 by Columbia Records.
On the back of significant media attention and a "disproportionately high press profile" generated by the band's previously released single "Motown Junk" from 1991, Generation Terrorists was long-awaited by critics thanks to the members' proclamation that their debut would be the "greatest rock album ever" and sell around sixteen million copies around the world, "from Bangkok to Senegal". Recorded between July and December 1991 and released in February 1992, the album did not meet these sales figures but it was nonetheless ultimately certified Gold in the United Kingdom and also charted within the Top 100 in Japan.
Generation Terrorists was recorded by tracking (the band recording each instrument separately rather than playing it as a live band and then adding the overdubs later) over a period of twenty-three weeks at Blackbarn Studios, near Guildford, England.
Producer Steve Brown decided not to use live drums on the album, and so most of the drum tracks were recorded with a drum machine, which was programmed by the band's drummer Sean Moore.
Describing the album's musical style, the Quietus opined "It had to sound passé, it had to be overdone; if you're trying to bulldoze the shiny edifice of western pop culture, you can't do it tastefully or with subtlety, can you? [...] Generation Terrorists intentionally overplays its hand, overeggs its pudding and spunks its load at every turn". and Pitchfork writer Joe Tangari wrote that Generation Terrorists "walked a weird line between agit-punk, cock rock, romantic melodicism and glam, and was so obviously patterned after the Clash's London Calling that it was actually kind of cute." Critics have labelled the album as glam rock, hard rock, punk rock, glam punk and glam metal. Other influences on the album's sound include Guns N' Roses and the New York Dolls.
All lyrics were written by Richey Edwards and Nicky Wire. All music was written by James Dean Bradfield and Sean Moore (except "Damn Dog", which is a cover version of a song by the Sleez Sisters from the 1980 movie Times Square). The album's lyrics are politicised similar to that of The Clash and Public Enemy, with the album's songs regularly switching from a critical focus on global capitalism to more personal tales of despair and the struggles of youth. Examples of the more politically inspired side of Generation Terrorists include the opening track "Slash 'n' Burn", which concerns "third world exploitation", the track "Repeat (Stars and Stripes)", a remix of the band's own anti-monarchy tirade by Public Enemy production team The Bomb Squad and "Another Invented Disease", a song whose title was deliberate word play on AIDS and referred to a conspiracy theory insinuating that the virus was manufactured by American biological warfare scientists.
Other tracks combine personal and political themes, implicating a connection between global capitalism and personal struggle; "Nat West-Barclays-Midlands-Lloyds" was written as a critique of overseas banking credit policies, but also concerned Richey Edwards' issues involving overdrafts and refused loans. Marc Burrows of Drowned in Sound considered the song to be an accurate prediction of "global financial meltdown" and its effects on everyday life. The single "Motorcycle Emptiness", meanwhile, criticizes consumerism as a "shallow dream" that makes human life overtly commercialized. "Little Baby Nothing", a duet between Traci Lords and Bradfield, was described by Priya Elan of the NME as a "perfect snapshot of [female] innocence bodysnatched and twisted".
Wire and Edwards' love of poetry is also evident in their lyrics. Stuart Maconie of Select speculated that the album's lyrics were not primarily written for usage in song format: "You got the impression that often they haven't even been tried out in the mouth". Instead, revolutionary slogans, and rhyme-free verse conveying multiple messages combine to create an album "drenched in Richey and Nicky's cut-n-paste lyrical agitation", with vocalist Bradfield "fitting sentences along the lines of 'Nagasaki royal alienation consumer deathmask strychnine holocaust hate' into the restrictive confines of a melodic rock chorus."
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Generation Terrorists
Generation Terrorists is the debut studio album by Welsh alternative rock band Manic Street Preachers, released on 10 February 1992 by Columbia Records.
On the back of significant media attention and a "disproportionately high press profile" generated by the band's previously released single "Motown Junk" from 1991, Generation Terrorists was long-awaited by critics thanks to the members' proclamation that their debut would be the "greatest rock album ever" and sell around sixteen million copies around the world, "from Bangkok to Senegal". Recorded between July and December 1991 and released in February 1992, the album did not meet these sales figures but it was nonetheless ultimately certified Gold in the United Kingdom and also charted within the Top 100 in Japan.
Generation Terrorists was recorded by tracking (the band recording each instrument separately rather than playing it as a live band and then adding the overdubs later) over a period of twenty-three weeks at Blackbarn Studios, near Guildford, England.
Producer Steve Brown decided not to use live drums on the album, and so most of the drum tracks were recorded with a drum machine, which was programmed by the band's drummer Sean Moore.
Describing the album's musical style, the Quietus opined "It had to sound passé, it had to be overdone; if you're trying to bulldoze the shiny edifice of western pop culture, you can't do it tastefully or with subtlety, can you? [...] Generation Terrorists intentionally overplays its hand, overeggs its pudding and spunks its load at every turn". and Pitchfork writer Joe Tangari wrote that Generation Terrorists "walked a weird line between agit-punk, cock rock, romantic melodicism and glam, and was so obviously patterned after the Clash's London Calling that it was actually kind of cute." Critics have labelled the album as glam rock, hard rock, punk rock, glam punk and glam metal. Other influences on the album's sound include Guns N' Roses and the New York Dolls.
All lyrics were written by Richey Edwards and Nicky Wire. All music was written by James Dean Bradfield and Sean Moore (except "Damn Dog", which is a cover version of a song by the Sleez Sisters from the 1980 movie Times Square). The album's lyrics are politicised similar to that of The Clash and Public Enemy, with the album's songs regularly switching from a critical focus on global capitalism to more personal tales of despair and the struggles of youth. Examples of the more politically inspired side of Generation Terrorists include the opening track "Slash 'n' Burn", which concerns "third world exploitation", the track "Repeat (Stars and Stripes)", a remix of the band's own anti-monarchy tirade by Public Enemy production team The Bomb Squad and "Another Invented Disease", a song whose title was deliberate word play on AIDS and referred to a conspiracy theory insinuating that the virus was manufactured by American biological warfare scientists.
Other tracks combine personal and political themes, implicating a connection between global capitalism and personal struggle; "Nat West-Barclays-Midlands-Lloyds" was written as a critique of overseas banking credit policies, but also concerned Richey Edwards' issues involving overdrafts and refused loans. Marc Burrows of Drowned in Sound considered the song to be an accurate prediction of "global financial meltdown" and its effects on everyday life. The single "Motorcycle Emptiness", meanwhile, criticizes consumerism as a "shallow dream" that makes human life overtly commercialized. "Little Baby Nothing", a duet between Traci Lords and Bradfield, was described by Priya Elan of the NME as a "perfect snapshot of [female] innocence bodysnatched and twisted".
Wire and Edwards' love of poetry is also evident in their lyrics. Stuart Maconie of Select speculated that the album's lyrics were not primarily written for usage in song format: "You got the impression that often they haven't even been tried out in the mouth". Instead, revolutionary slogans, and rhyme-free verse conveying multiple messages combine to create an album "drenched in Richey and Nicky's cut-n-paste lyrical agitation", with vocalist Bradfield "fitting sentences along the lines of 'Nagasaki royal alienation consumer deathmask strychnine holocaust hate' into the restrictive confines of a melodic rock chorus."