Babyshambles
Shotter's Nation

THE REVIEW

Try to Cage Pete Doherty if You Can.

The antics with Kate Moss have now overshadowed those good things that the "good" Pete has done in his career (the first Libertines, something from "The Blinding E.P.") and fueled the detractors regarding the bad ones ("Down In Albion," except for three episodes, was frankly a chaotic flop). So, how to bring out the best from the (seemingly former) ultimate junkie?

That's what they must have asked themselves at Parlophone, and the crossroads is always the same: "channel" Doherty's talent into a more regular and methodical path (but inevitably sacrifice it), or let it run free (and risk the debut debacle). The chosen path seems to be the first one, given the shift to the "watchdog" Stephen Street as producer. As expected, it seems that the disputes between the bandleader and the iron sergeant were numerous, and such that Street was induced to storm out of the recording studios several times, only to return, implored by the other band members. Add to that Pete's individualistic aspirations (his solo album seems almost ready), and the omelet is almost done. Almost, because the new "Shotter's Nation" turns out to be a good album, with a couple of episodes that are even surprising. 

The album starts by highlighting a well-defined stylistic imprint; a skewed and disordered guitar riff introduces us to "Carry On Up The Morning", libertinesque to its core, already confirming the sound heavily cleaned up compared to the debut (and already showcased in the previous e.p.). The first single "Delivery" is a guitar pop/garage song that Pete can now write with his eyes closed, the six-string jumps around pleasantly and lively, and Doherty's voice retains that tone between apathetic and off-key that is now a trademark. The melody of "You Talk" is impactful, leading us to "Unbilo Titled", a slow song clearly inspired by certain eternally depressed Britpop atmospheres. "Side Of The Road" is a two-minute garage punk full of constant rhythm changes, flowing pleasantly, as does "Crumb Begging Baghead" which presents vaguely "bluesy" nuances. Notable is the second single "French Dog Blues", written by Moss, Ian Brown, and Doherty. Then, in one swoop, it shifts from the Strokes-like "Baddie's Boogie" to the more classic British pop of "Deft Left Hand", leaving aside "Unstookie Titled", harmless but possessing a pleasant instrumental coda and a good bass riff. Still, there are two little gems in the album: the swinging and splendid "There She Goes", a former Libertines song, the only one with some "relation" to the tracks on "Down In Albion" (comes immediately to mind "La Belle Et La Bête"), and the final classy touch "Lost Art Of Murder", entirely written by Pete, indicative of the beautiful things the boy can pull out of the hat on a melodic and emotional level. 

This "Shotter's Nation" seems like a good re-start for the 'shambles, so let’s hope it truly is. But it's still unknown if reining in (even partially) Doherty's talent is a clever move long-term. We shall see, now that, moreover, Barat with his Dirty Pretty Things is about to respond.