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‘I’m not dead, I’m not done,’ Shirley Manson asserts on Chinese Fire Horse, a fierce response to journalists inquiring about her retirement plans. Not a chance. With the electro-goth revival in full swing (featuring The Cure, Heartworms, and Eurovision’s Bambi Thug) and synthetic space-rock gaining prominence, these pioneering artists remain highly relevant, traversing back to the future-rock forefront despite the cancellation of their 2021 tour due to an on-stage hip injury requiring surgery and long recovery.
Manson’s recovery period has led to one of Garbage’s most introspective albums in her 30-year career (she grapples with accepting her body’s fragility while simultaneously reaffirming its strengths), yet it’s also one of their most assertive. Within these 45 minutes, Manson targets deceitful exes, oppressive regimes, and various forms of bigotry, all while employing the bubblegum space-rock sound of Chinese Fire Horse to critique underappreciated writers.
The opening track No Future In Optimism may have an ironic title, but the song paints a bleak picture of lovers trying to escape a chaotic, apocalyptic Los Angeles filled with riots, earthquakes, and hovering helicopters. R U Happy Now critiques the gun-loving and misogynistic MAGA mentality.
Get Out My Face AKA Bad Kitty showcases Manson as a voice for online female resistance, while Sisyphus beautifully intertwines classical strings with electronic beats, wrapping its arms around the vulnerable, whether they be black, trans, or Palestinian.
Diary-like snapshots enhance the narrative. Hold expresses a longing for connection from Manson’s lockdown due to surgery. Have We Met (The Void) reflects on a moment from four decades ago when her boyfriend’s mistress appeared at her door, plunging her into her first life crisis. The Day I Met God narrates a recent spiritual encounter while on potent painkillers.
Having three innovative producers guiding her has perhaps benefited Manson more than ever. Butch Vig, Steve Marker, and Duke Erikson layer meditative passages with cinematic synth-noir textures, amplify her moments of clarity with cutting-edge rock, and immerse her personal stories in an ethereal grandeur. Rarely has a record resonated so profoundly.
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