Jim jarmusch's imminent set of dryly comic vignettes, filmed over the course of a decade, will pitch him to a new generation, as it features Jack and Meg White, Wu-Tang Clan (RZA scored Jarmusch's last film, Ghost Dog) and Steve Coogan among its cast. One of the better sequences sees Tom Waits and Iggy Pop mock-bickering over who's more famous, and both contribute to this studiously cool soundtrack.
Now that Oasis have been written into British rock history alongside The Beatles, The Sex Pistols and all those other elder statesmen they so publicly admired and absorbed, 1984's Definitely Maybe survives as a revered, although sometimes distant, memory. These days when Oasis play Glastonbury, there are waves of excitement but no huge hullabaloo about their perfunctory parade of greatest hits, and their albums have ceased to generate the expectation, the queues around the block in Oxford Street, that was once the norm.
Given the unfolding and increasingly tragic saga of The Libertines, it's a miracle this record even exists, let alone has any artistic worth. For, in the two years since their extraordinary debut album (2002's Up The Bracket), the story of this erratic but enthralling group has taken in serious drug addiction, a prison sentence and—during the making of this record alone—three failed attempts to get frontman Pete Doherty through rehab. Indeed, on the eve of release, Doherty has temporarily been removed from the Libertines line-up.
The second Libertines album is all about this.
