A little bit of Libertines, a little bit of Babyshambles, a little bit of solo work. That is how the life flows for Pete Doherty. After 2009 debut Grace\Wasteland, Doherty decided it is time for a new solo release. Plethora of motives and ideas mixed with minimalistic approach and various orchestrations are his forte as a solo author.
Hamburg Demonstrations is Pete’s response to what’s surrounding him. As we know that he has many problems in his life, it is cool that he has decided to orient part of his recovery towards music, and not towards self-destruction as he was doing it in the previous years. I have also appreciated albums by Libertines and Babyshambles, which proves that Pete is working hard.
His music style is mostly chaotic, and that is how the new record sounds like. Full of peculiar and unusual riffs and rhythms, the effort pulls off the feeling of winter nights by the fire. Many songs are chill and melancholic, and it seems like orchestrations were add on top of that atmosphere, helping tracks to gain wide melodies.
People might find this type of expression a little bit boring because it didn’t reach the heights of the debut. The songs sound like they are drifting away, dissolving into the monotony. Intermittent flashes break the substantial monotony, making those moments worthy of single release.
Part of the explanation lies in themes Doherty decided to cover on his record. There are conflict with terrorist who attacked his Paris and the club Bataclan, but there are also plentiful of questioning of lifestyle. Pete wonders how would it look like to live in utopia. Sinking in morose affections, he concludes that these type of world will always be imaginary.
Kolly Kibber opens the album. It would be a real killer in a different arrangement. Birdcage shows Pete as a specific interpretator, while the culmination comes with Hell to Pay at the Gates of Heaven, a dedication to the victims of Bataclan. Come on, boys, choose your weapon, J-45 or AK-47?
The middle of the album offers nothing but mediocre songs lacking interesting twists. At the end, we get two pearls – highly emotional Don’t Love Anyone (but You’re Not Just Anyone) and infectious The Whole World is Our Playground.
It is not difficult to conclude that Hamburg Demonstrations is far from being a masterpiece. Still, it is a solid album that showcases that Doherty’s rehabilitation is working out well.
