After nearly nine years, The Libertines have reunited to produce their fourth studio album, All Quiet On The Eastern Esplanade.
By Ruby Brown
Recorded in a swift four-week session at The Albion Rooms in Margate and finalised within a week at La Ferme de Gestein Studios in Normandy, the album received additional production and mixing by Grammy award-winning Dan Grech-Marguerat, best known for his work with Lana Del Rey, Paul McCartney, and Liam Gallagher.
While frontmen Pete Doherty and Carl Barât have experienced fluctuations in their presence within the mainstream media over the past two decades, amidst friendship breakdowns, intermittent touring, and solo ventures of varying levels of acclaim, their journey since the release of Anthems for Doomed Youth in 2015 has been notably smoother compared to the tumultuous periods that marked much of their relationship during the noughties.
However, despite their evolution as both artists and individuals since – most notably Pete’s relocation to northern France and his move towards a cleaner lifestyle – …Eastern Esplanade emerges as a poignant testament to the band’s enduring bond and unity in the face of such changes. It represents a new chapter in The Libertines’ captivating story so far, perhaps by moving away from the self-destructive tendencies that were brazenly evident in their earlier material, with the unyielding fervour that has always defined their music.
For Carl, the new album represents the culmination of The Libertines’ evolution. He reflects, “Our first record was born out of panic, and disbelief that we were actually allowed to be in a studio; the second was born of total strife and misery; the third was born of complexity; this one feels like we were all actually in the same place, at the same speed, and we really connected.”
Though sonically more sophisticated and coherent compared to the likes of the band’s debut, Up The Bracket, the album still remains true to the broader Libertines discography, with lyricism harking back to the glory days of the Albion and personal struggle, and a sweeping sense of reckless abandon, though perhaps with slightly more restraint than before.
The album kicks off with the record’s single track, Run Run Run, combining fun, catchy riffs and a punchy chorus with lyrics relating to running from the past and living life to the fullest. Just as Barât sings, “It’s a lifelong project of a life on the lash”, the track only serves to reaffirm the band’s enduring essence of indie sleaze from the early noughties, despite their long-awaited reunion and absence from recent scrutiny by tabloid press.
Mustang, on the other hand, paints a poignant portrait of a woman trapped in a dreary and monotonous existence and yearning for any semblance of escapism within her reach. The track’s references to her affinity to alcohol, escapism, disillusionment, and the search for meaning are especially hard-hitting when situated within the context of the ongoing cost of living crisis that has wreaked havoc for so many in the post-pandemic landscape.
In Have a Friend, Doherty showcases his first vocal performance on the album. His unique voice carries a palpable sense of vulnerability, adding depth to the song’s broader lyrical composition. Seamlessly merging classic Libertines’ musical motifs with contemporary themes like references to warfare and imperialism, the track explores urgent societal issues, including the ongoing conflict in Ukraine. In a similar vein, Merry Old England unravels poignant commentary on today’s socio-political landscape, particularly through exploring the harsh realities faced by refugees from beyond the Western sphere. The album challenges the notion that seeking refuge in England equates to an idyllic new beginning, opting instead for a sobering and realistic portrayal of the challenges many encounter. With dramatic closing strings, the album seeks to reinforce the gravity of the current climate, leaving us listeners to challenge and contemplate the mainstream political discourses that we’re all so often bombarded with.
Man With The Melody perfectly captures the essence of The Libertines’ artistry. Amidst the raw, witty, and uncompromising energy of the album, it provides a moment of respite. The song offers a soulful and ambient ballad infused with a touch of melancholy, before the punchiness of Oh Shit interrupts the programme.
Collaboratively penned with Jamie T, the track sustains the electrifying, rapid-fire vigour for which both artists are revered, though admittedly less spontaneous and chaotic sounding than some of their earlier releases. Contrastingly, tracks like Night of the Hunter and Baron’s Claw give an air of the hardened, dark poeticism that Pete never fails to deliver.
Continuing down this more subdued thematic path that so clearly denotes the album, Shiver provides a timely reflection on contemporary socio-political events, departing from romanticised notions of the Albion that have often permeated their artistry.
Shifting away from this sombre atmosphere once again, Be Young features Carl back on vocals and manifests itself as another standout track that encapsulates the signature sound of The Libertines. With its bold, punky vibe juxtaposed with rose-tinted nostalgia and gritty, straightforward lyrics, it’s the kind of track you’d anticipate becoming a fan favourite during their upcoming sold-out tour, particularly resonating with those who have followed The Libertines since the very beginning of their tumultuous history.
The record is polished off with the nostalgic Songs They Never Play On The Radio. It has soft chords overlaid with dulcet vocals reminiscent of Music When The Lights Go Out and What Katie Did. It’s one that stops you in your tracks, pulls at your heartstrings, and reminds you of why you first fell in love with the likely lads.
While many of the artists who dominated the indie scene almost twenty years ago are often burdened with old age comparisons to their early work, often tarnished by a wistful and nostalgic desire to reverse the passage of time, …Eastern Esplanade does not succumb to any of these routine pressures. Instead, the album offers a refreshed and ambitious – albeit matured – sound whilst not straying too far from their archetypal roots.
With a sold-out 22-show UK tour scheduled to commence at The Telegraph Building in Belfast on 24 September, there is no doubt in my mind that die-hard fans of the band will lavish praise upon the reunion of the band and their revitalised sound. If nothing else, others with less of an affinity to the band will see this record as a nod to the wider feelings of disgruntlement that loom over many aggrieved minds, offering an apt soundtrack to the country’s current social, political, and economic climate.
You can listen to All Quiet On The Eastern Esplanade below.
