The Libertines They will carry throughout their lives with the distinction of having been one of the great hopes of that rebirth of guitar music that emerged with the new century in England, in addition to one of the most media groups of their generation thanks to their adventures – artistic and extra. musicals – by Carl Barât and, of course, Pete Doherty (it is advisable to read his biography “A Likely Lad. “A promising kid”). In any case and despite whoever it may be, the first two albums of the quartet –“Up The Bracket” (Rough Trade, 02) y “The Libertines” (Rough Trade, 04) – are already part of the history of British indie-pop and their creators will always be remembered for both titles.
The fourth studio album by the London band comes accompanied by doubts about what to expect from this new work, almost ten years after the dispensable “Anthems For Doomed Youth” (Virgin, 15). As was logical, the album contains songs in its usual line with echoes of The Clash, The Jam, Buzzcocks, The Specials or The Replacements, somewhat hooligan but relatively solid. Up to a total of eleven among which are, let’s say it now, some of the best pieces of the combo from the group’s incontestable moments.
They do it by proudly brandishing a recognizable style that, without boasting particular elements or inventing anything, has that minimal differentiating spark that ignites in the development of the songs themselves. The four impeccable singles that served as previews increased optimism, from the direct “Run Run Run” al part time “Night Of The Hunter”going by “Oh Shit” y “Shiver”. Some highlights that should be added “I Have A Friend”, “Be Young” y “Merry Old England”although they are somewhat diluted upon contact with lower level cuts.
As expected, “All Quiet On The Eastern Esplanade” (Universal, 24) is far from that compositional zenith (suitably seasoned with excesses and rock & roll clichés taken to their maximum expression) of yesteryear, but in return it is a work that is easily enjoyed, leaves evident joys and, in the Worst case scenario, any follower of the group will like you. And, above all and despite the irregularity, it is a reference that embraces what are undoubtedly the most brilliant songs of the second stage of The Libertines, far surpassing the previous delivery. Surely that and not much more is precisely what can be expected from the group twenty-two years after their debut.