The first British band to rival the garage rock revival sparked by
the Strokes and
White Stripes in the U.S.,
the Hives in Sweden, and
the Datsuns in, er, New Zealand,
the Libertines burst onto the scene with
Up the Bracket, a debut album so confident and consistent that the easiest way to describe it is 2002's answer to
Is This It. That's not just because singer/guitarist
Pete Doherty's slurred, husky vocals sound like
Julian Casablancas' with the added bonus of a fetching Cockney accent (or that both groups share the same tousled, denim-clad fashion sense); virtually every song on
Up the Bracket is chock-full of the same kind of bouncy, aggressive guitars, expressive, economic drums, and irresistible hooks that made
the Strokes' debut almost too catchy for the band's credibility. However, the resemblance is probably due more to the constant trading of musical ideas between the States and the U.K. than to bandwagon-jumping --
the Strokes' sound owes as much to Britpop sensations like
Supergrass (who had
the Libertines as their opening band on their 2002 U.K. tour) and
Elastica as it does to American influences like
the Stooges and
the Velvet Underground. Likewise,
the Libertines play fast and loose with four decades' worth of British rock history, mixing bits and bobs of British Invasion, mod, punk, and Britpop with the sound of their contemporaries.
On paper it sounds horribly calculated, but (also like
the Strokes' debut) in practice it's at once fresh and familiar. Mick Jones' warm, not-too-rough, and not-too-polished production both emphasizes the pedigree of their sound and the originality of it: on songs like "Vertigo," "Death on the Stairs," and the excellent "Boys in the Band," the guitars switch between Merseybeat chime and a garagey churn as the vocals range from punk snarls to pristine British Invasion harmonies. Capable of bittersweet beauty on the folky,
Beatlesque "Radio America" and pure attitude on "Horrorshow,"
the Libertines really shine when they mix the two approaches and let their ambitions lead the way. "Did you see the stylish kids in the riot?" begins "Time for Heroes," an oddly poetic mix of love and war that recalls the band's spiritual and sonic forefathers
the Clash; "The Good Old Days" blends jazzy verses, martial choruses, and lyrics like "It's not about tenements and needles and all the evils in their eyes and the backs of their minds." On songs like these, "Tell the King," and "Up the Bracket," the group not only outdoes most of its peers but begins to reach the greatness of
the Kinks,
the Jam, and all the rest of the groups whose brilliant melodic abilities and satirical looks at British society paved the way. Though the album is a bit short at 36 minutes, that's long enough to make it a brilliant debut; the worst you can say about its weakest tracks is that they're really solid and catchy. Punk poets, lagered-up lads, London hipsters --
the Libertines play many different roles on
Up the Bracket, all of which suit them to a tee. At this point in their career they're not as overhyped as many of their contemporaries, so enjoy them while they're still fresh. ~ Heather Phares