Dirty Pretty Things
Romance At Short Notice

THE REVIEW

As everyone knows, the Libertines disbanded some time ago, and from their ashes emerged two bands, maybe three if we also consider John Hassal's Yeti, but the creative core of the Libertines was the Barat-Doherty duo. Once separated, Doherty formed the Babyshambles, while Barat, followed by the other libertine, drummer Gary Powell, founded the Dirty Pretty Things with Didz Hammond and Anthony Rossomando. As for what reaches Italy, we hear about Pete Doherty from time to time, and never concerning music; we hardly hear anything about Carl Barat, in fact, nothing at all.

The Dirty Pretty Things released their second album this year; in July, "Romance at Short Notice" appeared in stores, following the enjoyable debut "Waterloo to Anywhere" (2006).

"Romance at Short Notice," at least in my opinion, can be compared to its predecessor: an enjoyable album that entertains you for about 40 minutes, and at certain points quite captivating; in short, we're not talking about a masterpiece, but it's listenable and leaves you with a slight sense of satisfaction along with a desire to pop it back in the CD player... that feeling that you don't regret buying it.

Regarding the music, the Libertines' imprint is all there, but if "Waterloo to Anywhere" was closely tied to that sound, this album on first listen I'd describe as slower than the previous one, with somewhat more relaxed tones, but also more cohesive, an idea coming from listening to the album's first songs "Buzzards and Crows", "Hippy’s Son", and the single driving the album "Tired of England" (a misleading title, because it sounds like a declaration of affection towards one's homeland). There are relaxing moments with the serenade "Come Closer" and beautiful ballads "Fault lines" and "The North". The more "fast-paced" moments are also not missing with those captivating (albeit somewhat familiar) melodies sketched out by more or less gritty guitars (like "Kicks or Consumption", "Best Face"), and songs like "Where the Truth Begins" and "Chinese Dogs" offer a certain summer flavor (summer was already over, but it was starting when the album came out).

Everything is seasoned by Barat's voice (although he doesn't always sing): a tone almost detached, yet warm and engaging, sometimes rough and hoarse (as in "Hippy’s Son"), sometimes simply calm.

In the end, you're left satisfied, it's a good album and even the lyrics are well-crafted and interesting. What troubles me, and this album doesn't dispel my doubts in the least, is whether Barat and company are embarking on a certain path that, after two nice albums, is hoped to culminate in a great album (who knows, the third or fourth, they have all it takes to do it, unless in the meantime the Libertines reform)... or if the good cards have already been played, precisely, with the Libertines.

It's fair to hope, time will tell us, meanwhile we can do nothing but listen.