At a time where the music media is filled with the ‘will they/won’t they’ hope of a Libertines reformation, eye-of-the-storm Peter Doherty has coolly released his most ruthless album to date. So apologies folks, but he hasn’t pressed the ‘self destruct’ button just yet.
Filled with the ambience of lost dreams in albion, Peter’s suprisingly atmospheric masterpiece Grace/Wastelands springs forth images of him beavering away in that broken mansion of his, on songs which might just bring him back from the brink of ruin.
Grace/Wastelands seems quite samey on first listen, but make no mistake, Doherty is the master of writing the ‘grower’. After a few listens your ears become exquisitely attuned to his key changes and sombre vocal tones which gives you the well-earned opportunity to sit back and enjoy his exhibition of mesmeric acoustic songwriting. Exploring new avenues of songwriting but also keeping a firm hold of his unique throwaway offbeat strumming style, the album is not as stripped back as you might expect.
Recorded at Olympic Studios in London by legendary producer Stephen Street (The Smiths, Blur), Grace/Wastelands features a few collaborations including Dot Allison, who co-wrote and provides vocals on the wistful Sheepskin Tearaway. Peter’s Babyshambles band mates, Mik Whitnall, Adam Ficek and Drew McConnell also contribute to tracks on the album. Another fresh surprise is the accompanyment by Graham Coxon on guitar. As Peter explains, “Graham Coxon ended up playing on most tracks. He was probably in the studio more than I was, to be honest. I was absolutely horrified when he said he was actually a fan of some of the things I’ve done.”
The truth of the matter is, this is Peter’s most diverse, atmospheric album to date. A far cry from the frantic Babyshambles style. It is ruthless and kind, whisking pirate, jive and doo-wop influences into a melting pot of vintage Doherty ambles. Grace/Wastelands is sure to win over any doubters of this man’s ability to write and perform, as Peter continues, “I’m really curious to find out what people honestly think of the songs, particularly critics, because in a way you can kind of bank on certain people’s opinions, you know? You know that if someone’s into you then they’re into you, whereas critics are gonna look at it less subjectively and pick holes if you like. That’s what I’m waiting for really.”
Most of the songs have been played live or been leaked in demo form, but here they are in all their livery:
ArcardieLast Of The English Roses1939 ReturningA Little Death Around The EyesSalomeThrough The Looking GlassSweet By and ByPalace Of BoneSheepskin TearawayBroken Love SongNew Love Grows on TreesLady, Don’t Fall Backwards
The first single from the album is one of the standout songs, Last of the English Roses, which is out on 9 March (watch the video above). In truth there isn’t a bad song on the album. The sheer quality of songwriting, execution and production is remarkable. Although if I had to pick favourites, 1939 Returning, Salome, I Am the Rain and New Love Grows on Trees would be my choice.
Do not miss this album, for it is Peter Doherty back on form and at his very best. He may have been caught behind enemy lines, but make no mistake; Peter Doherty is now on a one way road back to Blighty.
