Your humble scribe doesn’t have a lot in common with The Libertines, beyond being three and four years respectively older than Messrs Barat and Doherty, which is probably why we all – me and my mates – got into their debut album so heavily. Rock stars weren’t our age (and these days they still aren’t) mostly, and although their experiences weren’t really ours, there was something about it.
But “Up The Bracket”, whether any of us like to admit it or not – was 22 years ago. None of us are the same as then (and neither should we be!) which is why the first Libertines album for nine years is an odd one to listen to.
“Run Run Run”, starts with a glam flavour, and immediately talks about a “life on the lash”. It might be very much a product of its environment, the streets of North West London. But it’s as memorable as the Minder theme tune (my love for “I Should Be So Good For You” is genuine and lifelong)
“Mustang” is basically a study in pop music and lovely harmonies, but somehow it’s unmistakably The Libertines. Tales of the working class, like if Springsteen had learned to drive on the North Circular and not the Jersey Turnpike.
The dynamics they always excel at are very much on show for “Have A Friend”, it its almost sweet sounding, before the punk-tinged solo, at least. The string-drenched “Merry Old England” deals with the refugee crisis head-on, but musically it shows just how many chances were being taken here – and credit to them for that.
That extends to the balladry of “Man With The Melody” – and it’s actually true as it adds an almost folk feel to things. “Oh Shit” brings a change of pace. More like the early stuff. It also gets bonus points for rhyming “lottery ticket” with “Jimminy Cricket”.
What does need to be said about “All Quiet On The Eastern Esplanade” is wherever it goes, even on the spaghetti Western infused “Night Of The Hunter”, which deals with knife crime in a very calm way, is its damn catchy.
It really is an astonishing gift the band have.
What it means is that even on the rather understated and slightly unsettling “Barons Claw” there’s something that you can’t resist. In this case, it’s the unexpected jazz trumpet (and that’s a sentence I wasn’t expecting to write).
If you’re waiting for this to let its hair down and snarl, then you’ll be disappointed. “Shiver” certainly isn’t going to do it, but like it says itself “just enjoy the ride”.
And that’s sort of what you need to do with this, because really it’s very, very good indeed.
“Be Young” might appeal to Hold Steady fans, not to mention being perhaps the closest to The Libertines early material, with its rapid-fire delivery. Even here, though, they can’t resist playing with the formula and there’s a wander down some reggae road.
There’s just something effortlessly cool about them though, and the last one “Songs They Never Play On The Radio” is timeless, yet entirely English.
In some ways, it’s a folk record. I heard Pete Doherty talking movingly on Radio 4 a few months ago when his friend Shane McGowan died, and it’s impossible not to think of this as following that kind of lineage. The use of language, the melodies, the fact its beholden to no one. It’s not a scuzzy punk record, and yes there’s a “maturity” but “All Quiet On The Eastern Esplanade” still very much has its finger up to the man and dares you to take on The Libertines.
Rating 8.5/10
