The Libertines – ‘All Quiet On The Eastern Esplanade’ album review: a welcome return
THE SKINNY: Over the past two decades, The Libertines have helmed a unique vessel of rock tradition through the heady highs and crashing lows promised to the willing sailor. The choppy waters, often dictated by Pete Doherty’s addiction struggles and associated prison terms, have stressed the bonds, but in All Quiet On The Eastern Esplanade, we see a band emerge from the tempest all the stronger for it.
In 2019, Doherty entered into what has become his most stable period of sobriety. The Covid-19 pandemic exerted its pressures, but he remained steadfast to his newfound strength, embracing music as a creative outlet. In 2021, it was reported that he had reunited with his Libertines co-frontman Carl Barât to work on some new material. Over the past six months, The Libertines have treated us to several promising preview singles, but finally, the wait is over as we welcome the band’s fourth studio album and first in nine long years.
As the four singles suggest, All Quiet On The Eastern Esplanade is a fine display of indie rock. Adhering to the form of their previous records, The Libertines balance the 11 tracks with instrumental and thematic diversity, interspersing floor-filling anthems with emotive balladry.
The album celebrates The Libertines’ past success with instrumental nuance centred in Latin flourishes and an embrace of several previously untrampled territories in rock history. Meanwhile, Barât and Doherty maintain a track record of incisive poetry, reflecting on ghosts of the past and remaining eternally relevant with sociopolitically incisive lyrics.
For fans of: Charles Bukowski, indie disco and bracing the weather of ol’ Blighty.
A concluding comment from Alan Partridge: “The ‘boys in the band’ are back! All Quiet On The Eastern Esplanade isn’t as catchy as 2004’s The Libertines, but I’ll try to remember it.”
All Quiet On The Eastern Esplanade track by track:
Release Date: April 5th | Producer: Dimitri Tikovoï | Label: Casablanca and Republic Records
‘Run Run Run’: With two of Britain’s finest indie songwriters in the squad, covers are not welcome at this particular feast. Thankfully, they have only leant on The Velvet Underground for the song title. Nearly five years clean, Doherty shows that he still knows how to party in this fittingly unrefined punk anthem. [3.5/5]
‘Mustang’: This one has an air of early 1970s rock and roll. In an age where many artists search tirelessly for originality and edginess, The Libertines appear comfortable to celebrate the rich history of rock and roll. At this discerning stop, heads will surely bob as Doherty dotes on a dreaming muse. [4/5]
‘Have a Friend’: After borrowing Hal Blaine’s classic drum intro from ‘Be My Baby’ or perhaps The Jesus and Mary Chain’s ‘Just Like Honey’, Gary Powell lets loose for another upbeat indie anthem. Meanwhile, the lyrics cross the grain in compelling juxtaposition: “It’s hard to feel alright when you’re being brutalised / The tears, like bombs, they fall without warning”. [4/5]
‘Merry Old England’: Throughout their poetic canon, Doherty and Barât betray a degree of national pride but recognise Britain’s many failings and faults. In ‘Merry Old England’, The Libertines broaden the instrumental scope with piano and orchestral strings. Meanwhile, the lyrics ask refugees and asylum seekers how they’re finding a not-so-merry England. [4/5]
‘Man With The Melody’: The Libertines like to separate themselves from many indie rock contenders with a change of pace. In ‘Man With The Melody’, we hear gentle piano and acoustic guitar progressions build in intensity through an unconventional electric solo and a splendid string arrangement. [4/5]
‘Oh Shit’: Following an ethereal interlude, ‘Oh Shit’ shifts proceedings back into fifth gear. This danceable new wave-harkening banger will undoubtedly be a hit with live audiences. The ghost of ‘Don’t Look Back Into the Sun’ lingers somewhere in the mix. [3.5/5]
‘Night Of The Hunter’: With an acoustic, Latin aura, ‘Night Of The Hunter’ is instrumentally atmospheric but shifts our focus to Doherty’s lyrics. He seems to address past mishaps, of which there have been a few: “You can clean out your clothes / You’ll never clean your soul, no, no”. [4/5]
‘Baron’s Claw’: With an acoustic progression and brass inflexions, ‘Baron’s Claw’ maintains a Latin sound. Beat breaks emphasise a sensual rhythm while Doherty unfurls the story of the mysterious “Baron’s Claw”. In press materials, Doherty revealed that the “spooky character” was inspired by the Gothic portrayals of Peter Cushing. [4/5]
‘Shiver’: Lyrical prowess, catchy rhythm, and pin-point production leave no question mark above the band’s decision to preview the album with ‘Shiver’. The song has a haunting quality that permeates much of the record. The mention of Albion and the opening line, “The last dream of every dying soldier,” evoke the glory days of vintage military uniforms and Up the Bracket. [4.5/5]
‘Be Young’: In theme and style, ‘Be Young’ seems to celebrate the immortal rock ‘n’ roll spirit. Punky and abrasive, Doherty and Barât wind back the years to exhibit some of the angst and attitude that first thrust them under the spotlight. It’s more cacophonous and forgettable than some of the early hits, however. [3.5/5]
‘Songs They Never Play On The Radio’: The Libertines conclude All Quiet On The Eastern Esplanade on perhaps its highest note. In a sentimental outro, Doherty and Barât trade a couple of verses very dear to the former. In press materials, Doherty remembered being very fussy about the recording process. “It means so much to me,” he said. “By the time it gets to the end, whenever I listen to it, I’m in that much of a mess I’m blubbing my heart out.” [4.5/5]
Never Miss A Beat
The Far Out New Music Newsletter
All the latest New Music from the independent voice of culture.
Straight to your inbox.