A damage fading, eternal to be
So Lifeblood’s all melodic and beautiful and subtle and clean in its sound et cetera. And The Love of Richard Nixon is almost synthpop and all the b-sides so far have continued in similar fashions. And then the TLORN DVD-single offers a few dirty, fuzzy guitar rockers with lo-fi production values that sound like KYE remnants.
Mostly, anyway. Quarantine might have a completely different sound to the rest of Lifeblood era but a certain melodiness and sophistication comes through its composition anyway. It might sound guttural and raw but the chorus soars majestically and the ever-present “woo-oooh” backing vocals give it a sort of… finer edge. Lifeblood’s soaring choruses and heavy backing vocal usage comes to mind.
Aside from the chorus’ heavy usage of Nicky’s favourite lyrical bit – “like a x” comparisons which rarely make any sense – there’s nothing to fault on the track. It’s raw and it’s got punch, and chances are that if you don’t like Lifeblood (you weird, weird person you) you might love this. It’s a great piece of latter-day Manics rock.
A mystery surrounds Quarantine, sorta – on the single release its accompanied by a short film of its own (it’s nice, contains some great shots of the band in the studio playing the song but nothing worth hunting the single for). On the same clip you can get a couple of brief glimpses of a woman, or a very feminine guy, singing on a microphone in a recording booth. No vocals like this can be found in any Lifeblood-era track and it would be very odd if the director (Nicky’s brother btw – one of his few better videos) decided to just shoot a random member of a whole different thing. The mysterious female singer continues to be mysterious.