The Wake

Like most postmodern “The” bands, The Libertines retrospectively rehash a previous musical movement. The London band’s Clash-esque melodies are clever and purposeful on their self-titled second album. But it is no wonder, The Libertines were taken under the wing of Mick Jones, the guitarist and songwriter for The Clash (not to be confused with the Mick Jones of Foreigner). This sophomore effort is a mixed-medium album with splashes of Far East influence (The Ha Ha Wall), 1950s pop (Narcissist and What Katie Did) and Doors-inspired excess (Road To Ruin). Despite this genre-jumping, the album stays at the same tempo for the most part. This gives it continuity, but also predictability. Though the record hints at unruliness and insight, a lull overtakes the beginning of the album. It sounds like The Libertines rehearsed too much in a shag-carpet studio. Regardless, stay tuned-in until the end because it does get better. Lead singers Pete Doherty and Carl Barat eventually start to coo like they mean it, while the rest of the band bops and rocks in a more affected fashion. In the end, The Libertines succeed by constructing something that feels like their own — playful experimentation.