2024-04-11 17:54:35
Indie rock that has fallen out of time, which has been politely adapted with a more modern outfit for the more sedate phases of life after the youthful exuberance: The Libertines succeeds with All Quiet on the Eastern Esplanade the second album since their reunion.
As a band you are “at the same place, at the same speed and connected for once“ must have been when the fourth studio album was in the making – and this unity, which is also based on the songwriter credits shared brotherly for the first time, can be heard from the (titlewise advertising for his own hotel) All Quiet on the Eastern Esplanade definitely on.
Partially positive for the faster rockers on the record – i.e. the one with handclaps by Leslie Gore The Velvet Underground rumbling forward mood maker Run Run Runthe solidly captured rock’n’roll urgency I Have a Friendthe one that quickly benefits the overall dynamic in its simplicity, but stands on its own but is quickly exhausted Oh Shitas well as a motivated bagatelle called Be Young.
Because in these cases if The Libertines similar to large parts of Anthems of Doomed Youth (2015) offer solid compromises to the first two Sturm und Drang masterpieces, what is of course striking is that the wheel of time cannot be stopped and the benevolent look back at the guerrilla indie disco of yesteryear remains with everyone retained competence in this regard does not meet the current practices of the Quartet.
Because without the atmosphere of the 00s, which was congenially recorded spontaneously by Mick Jones and heated up by internal friction with brilliant tension, it would be missing Libertines In this orientation, it’s simply the unpredictable, dirty energy that, no matter how much the joy of the band’s survival weighs, will always be used as an unattainable benchmark when aligned in this way.
More interesting is All Quiet on the Eastern Esplanade insofar as Dimitri Tikovoï’s clean sound, which has been shaped by current studio precision, but is therefore not completely smoothed, covers the stylistic spectrum of the strong characters Libertines from the skilful nostalgia makes you fit for new, hardly self-destructive phases of life and thus escapes the burden of the two Jones albums – with sweeping choirs or orchestral arrangements, i.e. facets that you don’t find on them Libertines would have expected. And it absolutely speaks for the French producer how balanced he is attuning this wider range to the band’s identity, how naturally and carefree the sound has grown, free of any bombast excesses.
Mustang slows down the tempo with a strumming sound Cowbell and becomes more and more like a swaying community party in a drunken embrace, Merry Old England stomps with verve into a longing for British nostalgia and Damon Albarn. The Elegy Man With the Melody ripples dreamily like chamber music and is essentially a hopeful acoustic ballad Night of the Hunter There is a downright pastoral with bittersweet melancholy in his fairytale-like associative arrangements. Baron’s Claw Staggers swaying into a bar celebrating with jazzy trumpets and the catchy tune leans back Shiver sparkles with nonchalant keys in consumer-friendly pop like no other Libertines-number before.
The evolutionary process becomes most clear in the wistfully mild final songs They Never Play on the Radiowhich Doherty has not been for since 2006 Babyshambles was able to complete that now as Beatles‘esque musical reference works coherently before the band dives into stupid banter and rounds off a nice, harmless album that reflects the melodic class of the Libertines unspectacularly skimmed off and enables the transition to new shores.
This provokes fewer explicit highlights than in the momentum Anthems for Doomed Youthbut with the longer breath, the whole thing should be more rounded in the long run.
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