The Libertines - All Quiet On The Eastern Esplanade Review
The Libertines kick back at the world a lot f*cking harder!
The Libertines are back at the helm of their beloved Albion, returning in full swing kicking back against the worldwide mundanity yet again hand in hand with punky rock and roll. Although they've had their internationally renowned and globally televised ups and downs, this time - according to Peter and Carl at least - they’re sticking around! The classic post-britpop sound that endeared them to all returns with a mighty boom. Their zealous racket that hasn’t aged a day working perfectly with grimy lyricism, a new cut up violin and their trademark erratic guitar, their newest work is some of their best. Singing to the tune of displaced immigrants in search of Merry Old England and to escaping a rut with their explosive opening track Run-run-run, this life-long project seems to have paid off dividends.
Run-run-run is an all-time classic track that sounds like it could’ve been made by the old-school Libertines. Indicative of Peter singing his woes out to the music of escaping his past side-by-side with co-captain Carl. It’s an intense ode to punk-rock in the best ways, nudging the listener into this new album as not to be to taken aback by the later changes in sound seen in the release. Carl said of the track: “It’s about being trapped and trying to escape your dismal life…. The worst thing for The Libertines would be to get stuck in a ‘Run-run-run rut, constantly trying to relive our past.” A sentiment shared by any band making a come back but perhaps no one truly exemplifies that more than the Libertines with their sky-highs and bellowing lows, culminating this thoughtful and reflective return to the scene after nine years. The vocals feeling far more mature, of course coming with age, by no means acts an indictment of the sound: there’s simply more meat on the bone.
The following track Mustang is emblematic of the new developed sound used for the rest of the album, grotty but clear, upbeat… but in the way a squat is upbeat. Sonically its cheerful and a little unwashed, sounding like its to be sung by a community of people rather than any kind of solo work, duet or band. This combined with the waxing poetic over the wavy backing track creates a wonderful springy sound, and one that’s sure to be evergreen for the band.
Mirrored in their track ‘Be Young’, a clean electric guitar rips through the track with the spirit of old rock and roll, matched with fast spoken lyrics and a reggae kick that reminds the listener of the band’s time spent recording in Camden in the 00’s. This track is an amalgamation of all the best phases the band have strained themselves through, and yet, it comes out a polished gem: as though their past work has been practice up until this massive fiery combustion of moods and sounds.
A notable standout from this release is Merry Old England, opening with piano that mimics The Doors ‘Riders on the Storm’ invoking the beginning of a harrowing and unsafe journey with a destination before unseen. This track is a bitter tale of the journey to get on the way to England as someone displaced, making their way through all manner of countries “the long way round” just to get to an unwelcoming and cold land. The sound displayed is full of angst and a sort of commiseration for the lack of affection this country affords immigrants, and how that conflicts with how “Merry Old England” sees herself. The Cool Britannia era that The Libertines were once part of (then rebelled against) in the early 00’s was the era of foreign policy and international intervention that created the need for so many to seek asylum in the first place. This song could be read as a rejection of that once booming movement, with Doherty having spoken out against the era in his chaotic, poetic punk-rock band Babyshambles following the 2004 breakup of The Libertines.
Their final track, ‘Songs They Never Play On The Radio’, is a nostalgic beat to the tune of longing for the old and more charming songs of yesteryear. An almost Beatles-like chord progression and a sway that sounds like their much beloved track ‘Can’t Stand Me Now’. A sweet duet finalised with choral howling to end the track, dropped out by the band mockingly singing the final lyrics in what sounds like the band sitting around in a jam-out. Yet another goodbye from the Libertines and from ‘All Quiet on the Eastern Esplanade’ but this time its by no means conclusive. There’s certainly more to come our way as the band seems incredibly more stable than their previous incarnations, with even Doherty proclaiming “more Libertines records? I should hope so!”.