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The Libertines – The Libertines (Rough Trade, 2004)

August 29, 2004 by A.S. Van Dorston

When The Libertines’ Up The Bracket was released in the UK in 2002, it was well liked for its youthful punk energy and similarities to The Jam and The Clash (it was produced by Mick Jones). Another good album that went practically unheard in the U.S., no biggie. In 2004, it’s an entirely different story – one that’s plastered all over the UK tabloids. Given that the story has nothing to do with their music, it’s not worth getting into. But oddly, suddenly The Libertines are being hailed one of the greatest bands ever. Huh? Their sophomore self-titled release certainly doesn’t measure up to that hype. It’s understandable why the standout single “Don’t Look Back Into The Sun” wasn’t included – its tightly focused blast of energy would make the rest of the album sound all that much more limp and ineffective in comparison. These songs sound like they were written in the studio.

Many don’t sound like they were written at all – where guitars slashed on Up The Bracket, they mostly noodle here. Songs like “Don’t Be Shy,” “Music When The Lights Go Out” are absolutely terrible. “The Man Who Would Be King” starts out tentatively but actually redeems itself by settling into a gauzy, haunting groove that could be a Sandinista! cut, complete with spontaneous hyaena-like howls and end-of-song banter. The lyrics sound tossed off, but ironically, they manage to pack more resonance than on the debut album. This is ultimately what makes The Libertines worth giving another listen. The Libertines really are a great band. They put on an excellent live show and they seem to stumble upon kernels of wit and wisdom like drunken savants, not unlike The Replacements used to. Despite the fact that only the aforementioned song, “What Became Of The Likely Lads” and possibly “Can’t Stand Me Now” come close to measuring up to their previous work, there are plenty of other isolated moments scattered throughout the album. Forget expectations, and this unfocused, shambling mess of an album can be enjoyed for what it is in the right context. Maybe they’ll get it right next time, if they make it that far.

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