Plastic Hearts too is pretty weak, exuding a fake jauntiness that evokes the horrors of lumpen pub-rock such as The Fratellis. Tired Of England revisits old themes of love for one’s country and city, but is hamstrung by lyrics which verge on self-parody, mentioning the Queen “sat on her throne of bingo cards and chicken wings”, and a presumably non-intentionally hilarious line about the state of the roofs in Clerkenwell.
The lyrics seem to be full of disillusion, talking of the titular buzzards and crows “pecking eyes of a scene self-obsessed”. Barat sounds as impassioned as ever, especially on the more upbeat tracks such as Hippy’s Son, but the songs are a pale shadow of what’s gone before.īuzzards And Crows makes for a lively opener, although the eerie fairground noises prove to be slightly irritating. Gone is the spark and swagger of those stand-outs from Waterloo To Anywhere, replaced by an oddly listless, lethargic feel. It’s a promise that Romance At Short Notice singularly fails to deliver upon, sadly. Admittedly, there were more than a few slightly aimless numbers on there, but it was a promising sign. Deadwood, Doctors And Dealers and You Fucking Love It were all swaggering, sizzling masterpieces, full of venom and energy that recalled The Libertines’ golden days. That debut album however, did contain enough moments to encourage the thought that Barat could well be the one with the promising long-term future. Three years on from the spectacular implosion of The Libertines, and there remains a strong suspicion that, like all great partnerships, the old magic is only able to be recreated when the main players are back together.īabyshambles, even without the massive tabloid media circus that follows Pete Doherty around, are the very definition of inconsistency, while Dirty Pretty Things‘ debut album Waterloo To Anywhere was packed with so much filler it could have been shipped off to a foreign country with ‘fragile’ marked on it.
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