The Blinding EP
Cross-posted from my last.fm journal (http://www.last.fm/user/Featherfin)
Over the past six months I've become a great fan of The Libertines as I'm sure my charts reflect. Unfortunately, I became addicted to the band through their derivatives rather than getting caught up in their music at the time they were together as a band, writing, recording, producing and performing it. As any Libertine fan can imagine, I've been kicking myself and wondering what the hell I was listening to instead to miss such musical geniuses.
Of the three post-Libetines bands; Dirty Pretty Things, Babyshambles and Yeti I've been most impressed by Carl Barât's Dirty Pretty Things, the album Waterloo to Anywhere ranking as one of my top albums of 2006. I'm also a big fan of Yeti's singles, EP and various other demos. Of the three, Babyshambles have endeared themselves to me the least, Down in Albion proving a mixed bag. There were some excellent tracks on that record, including Fuck Forever, Albion, La Belle Et La Bete, and Killamangiro. Of those four, two were Libertine-era tracks anyway, and consequently I don't view them as Babyshambles tracks in the purest sense. The band's failure to deliver on the promise of their melting-pot of talent led me to believe that Babyshambles would probably never become the band they could be.
Until this EP, that is. I suspect that given Peter Doherty's media-scrutinised descent into drug problems and legal issues, the band must find it very difficult to actually find extensive time together in the recording studio, let alone time together for writing and practicing. Producing several EPs of The Blinding EP's quality compared to the album Down in Albion's standards could be the band's only chance to create something substantial, something in their back-catalogue that will stand the test of time. The short nature of the EP and reduced number of tracks seems to have benefited the band immensely in what feels like much more of a group effort than their debut album. If Babyshambles never produce another album, (complete with Pete's vague mutterings and sporadic yelping) and instead stick to recording five track EPs with a true union between vocals and instruments in place, then I shall be happy.
Without further ado, I present a brief run through the record;
The Blinding - An excellent start to the EP, this track displays the reforged alliance between vocals and instruments that characterises the record and delivers character and wit without resorting to the tired sound of Doherty's yelp and instead allowing him to just sing.
Love You But You're Green - It's difficult not to compare this track to the Libertines-era Baby Shambles session recording I Love You (But You're Green). The most obvious change in this new recording is the change in tempo. The slower pace was a flawed decision, I think, and results in this song being the weakest on the record. It's not a bad song, by any stretch; it just pales in comparison to the rest of the tracks on the EP, the reduction in tempo and placement within the recording preventing it from ever reaching a proper climax.
I Wish - Probably the jauntiest track on the EP, Peter's vocals complement the rest of the band's instruments marvellously and the track's placement within the centre of the record works excellently. Hopefully the track is a sign of Babyshamble's future musical direction, marking a departure from the ponderous meanderings of Down in Albion and signally the emergence of a generally more confident, assertive sound.
Beg, Steal Or Borrow - Having already heard both this track and The Blinding prior to the EP's release, it was nice to hear that the band didn't reverse any of the positive decisions they seemed to make when recording it, in the production stage. The pace and rhythm are great and the song sails along without being over-ambitious or falling short.
Sedative - By far the best track on the entire record, Sedative is undoubtedly one of the band's best songs to date. Lyrically and musically accomplished, the track provides the sing-along moment of the EP and will undoubtedly become a stalwart feature of Babyshambles' live performances. It's also very nice to hear emphasis upon the backing vocals rather than just Peter's voice for once, an interesting move by the band and one that I hope they explore further.
Overall, The Blinding EP has done much to restore my faith in Babyshambles' talent and is hopefully a sign of good things to come. Perhaps the band will never be able to record an album of Waterloo to Anywhere or Up the Bracket's calibre, but several more EPs in the vein of The Blinding EP will do much to cement the band's credibility as a fine musical outfit.
Over the past six months I've become a great fan of The Libertines as I'm sure my charts reflect. Unfortunately, I became addicted to the band through their derivatives rather than getting caught up in their music at the time they were together as a band, writing, recording, producing and performing it. As any Libertine fan can imagine, I've been kicking myself and wondering what the hell I was listening to instead to miss such musical geniuses.
Of the three post-Libetines bands; Dirty Pretty Things, Babyshambles and Yeti I've been most impressed by Carl Barât's Dirty Pretty Things, the album Waterloo to Anywhere ranking as one of my top albums of 2006. I'm also a big fan of Yeti's singles, EP and various other demos. Of the three, Babyshambles have endeared themselves to me the least, Down in Albion proving a mixed bag. There were some excellent tracks on that record, including Fuck Forever, Albion, La Belle Et La Bete, and Killamangiro. Of those four, two were Libertine-era tracks anyway, and consequently I don't view them as Babyshambles tracks in the purest sense. The band's failure to deliver on the promise of their melting-pot of talent led me to believe that Babyshambles would probably never become the band they could be.
Until this EP, that is. I suspect that given Peter Doherty's media-scrutinised descent into drug problems and legal issues, the band must find it very difficult to actually find extensive time together in the recording studio, let alone time together for writing and practicing. Producing several EPs of The Blinding EP's quality compared to the album Down in Albion's standards could be the band's only chance to create something substantial, something in their back-catalogue that will stand the test of time. The short nature of the EP and reduced number of tracks seems to have benefited the band immensely in what feels like much more of a group effort than their debut album. If Babyshambles never produce another album, (complete with Pete's vague mutterings and sporadic yelping) and instead stick to recording five track EPs with a true union between vocals and instruments in place, then I shall be happy.
Without further ado, I present a brief run through the record;
The Blinding - An excellent start to the EP, this track displays the reforged alliance between vocals and instruments that characterises the record and delivers character and wit without resorting to the tired sound of Doherty's yelp and instead allowing him to just sing.
Love You But You're Green - It's difficult not to compare this track to the Libertines-era Baby Shambles session recording I Love You (But You're Green). The most obvious change in this new recording is the change in tempo. The slower pace was a flawed decision, I think, and results in this song being the weakest on the record. It's not a bad song, by any stretch; it just pales in comparison to the rest of the tracks on the EP, the reduction in tempo and placement within the recording preventing it from ever reaching a proper climax.
I Wish - Probably the jauntiest track on the EP, Peter's vocals complement the rest of the band's instruments marvellously and the track's placement within the centre of the record works excellently. Hopefully the track is a sign of Babyshamble's future musical direction, marking a departure from the ponderous meanderings of Down in Albion and signally the emergence of a generally more confident, assertive sound.
Beg, Steal Or Borrow - Having already heard both this track and The Blinding prior to the EP's release, it was nice to hear that the band didn't reverse any of the positive decisions they seemed to make when recording it, in the production stage. The pace and rhythm are great and the song sails along without being over-ambitious or falling short.
Sedative - By far the best track on the entire record, Sedative is undoubtedly one of the band's best songs to date. Lyrically and musically accomplished, the track provides the sing-along moment of the EP and will undoubtedly become a stalwart feature of Babyshambles' live performances. It's also very nice to hear emphasis upon the backing vocals rather than just Peter's voice for once, an interesting move by the band and one that I hope they explore further.
Overall, The Blinding EP has done much to restore my faith in Babyshambles' talent and is hopefully a sign of good things to come. Perhaps the band will never be able to record an album of Waterloo to Anywhere or Up the Bracket's calibre, but several more EPs in the vein of The Blinding EP will do much to cement the band's credibility as a fine musical outfit.