Waterloo To Anywhere

The debut album of Carl Barat's new band, Dirty Pretty Things, is a dark, joyful, libertine declaration of things to come.
A devoted fan/listener of his previous band, I was edgy about what this would sound like. I was gob-smacked, charmed at first listen.
During gigs, the band are raucous and accomplished, fast, furious rock'n'roll thrust in the ears and face of their listeners, but this album is slick, elegant and powerful and shows a lot of loving work. Scathing lyrics and driving riffs in DEADWOOD, do-woop refrains in DOCTORS AND DEALERS, gipsy guitars and anthemic sounds in BANG BANG YOU'RE DEAD, feel the thrill of skill and passion, with clever word play and driving guitars (I guess this is what you get if you put two lead guitarists in one band).
We catch our breath while Barat whispers/screams his way through BLOOD THIRSTY BASTARDS, and reggae beats in GENTRY COVE belie stark lyrics that may be confession of fear ("Tempest high, stories tall, thought that we learnt nothing at all, then at last the day was saved..."). It gets pretty dirty again with GIN AND MILK's thoughtful message, while THE ENEMY is a beautifully multi-layered piece of genius, with poignant sombre lyrics. A rock album wouldn't be complete without a love song, and IF YOU LOVE A WOMAN is a bewitching serenade, with fast and furious YOU FUCKING LOVE IT as terrifying contrast: during gigs crowds go crazy, it's pure adrenalin, but the subject is serious - youth drink, drugs, prostitution.
WONDERING goes back to reggae sounds again (interestingly, we find these also in the new album by Charlatans UK, and Tim Burgess is a good friend of these). Last song, LAST OF THE SMALL TOWN PLAYBOYS, is a wink and a flourish to Morrissey, and more socially aware lyrics. Bonus track B.U.R.M.A. is pure vaudeville-via-The Smiths, thoroughly charming, Barat's delivery is on the brim of boiling over with mirth. If this album lacks... a chorus of dancing girls going oohooh in places, the boys make up for it with pretty nifty chorusing of their own!
Almost no reader who knows The Libertines will be satisfied without comparison, so here goes: evidence of the roots is obvious, from Barat's voice (much improved since his early singing days) to Powell's restless, accomplished drumming (err, people used to say he was too good for that band). BUT: Didz Hammond's bass playing makes up his perfect quarter of the picture, while Anthony Rossomando's claims to his part are clearly stated in furious guitar riffs (and he played live with The Libertines many times, so fans are very aware of him already). In short, DPTs start exactly where The Libertines left off, keeping the same starry-eyed bitter sweet energy and... growing from those roots to leave the ground well behind. If the roots are not quite yet covered, the memory of The Libertines is just such, and better left there. It feels certain that Dirty Pretty Things's next album will bring closure.