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Jul 11, 2023 Web Exclusive By Dom Gourlay

“I’m always looking at the past, helps me believe the love will last.” That’s the opening line to “Contact Sheets,” which also serves as the opener to Intimism, Nicky Wire’s first solo record since 2006’s I Killed The Zeitgeist.

Written and recorded at various points over the past decade, Intimism feels like a concise collection of Polaroids focusing on snapshots in time. Indeed, when Under the Radar last spoke to the Manic Street Preachers bass player back in the summer of 2021, Wire stated his long awaited second solo album was pretty much done bar the mixing.

Nevertheless, what’s been a long and drawn-out process was definitely worth the wait. Drawing upon a lifetime of influences ranging from Bitches Brew-era Miles Davis through to C86 indiepop and beyond, Intimism is a joyous listen steeped in reflection and reminiscence that never becomes tiresome.

Across its 12 tracks, Wire covers a multitude of subjects and genres such as on the Dylan-esque “Ballad For the Baby Blue,” whose story is built around a trip to Swansea and features the heartfelt chorus, “A ballad for everyone, a ballad for when hope is gone.” Vocally reminiscent of McCarthy’s Malcolm Eden—another of Wire’s favorite bands from that era—there is a confident air in Wire’s voice which might not have been realized on Intimism’s predecessor or the Manics’ tracks on which he’s contributed lead vocals in the past.

On “Keeper of the Flame,” Wire declares “I am not a socialist, the social bit leaves me cold” over a guitar heavy arrangement that wouldn’t sound out of place among some of the Manics’ more visceral moments. Indeed, James Dean Bradfield contributes guitar on some of the songs here while another regular Manics collaborator Gavin Fitzjohn plays trumpet.

While Intimism for the most part follows traditional song structures, there’s a couple of left turns into avant-garde jazz and spoken word territories courtesy of “Migraine No. 1” and “Migraine No. 2” respectively.

However, it’s on the moving tribute to his late mother, “White Musk,” and winsome “Under California Skies” (think Felt during their Forever Breathes the Lonely Word phase) that Wire and Intimism’s ornate beauty really hits home.

By the time “As the Light Fades Away” (“One more roll of film, one more song to sing”) brings the record to an exquisite close, the immediate response is to play Intimism one more time.

While another Manic Street Preachers record is also on the horizon, Intimism is a more than adequate companion and another priceless addition to Nicky Wire’s back catalogue, both as a solo artist and part of his band’s collective. (www.nickywire.bandcamp.com/album/nicky-wire)

Author rating: 8/10