Medieval tales and connections with nature have informed the upcoming Pete Doherty album, Felt Better Alive. It sounds like a bold blend of his songwriting essentials and a period piece aesthetic, a blur that works. Third single, The Day the Baron Died, continues the tone and tales heard on Calvados, the slower living in a tucked away part of the world. Either set in 1876 or in an office block where phones are an unnecessary tool, the story told on The Day the Baron Died is a fascinating look at how we view riches. Do we run alongside the cars of those better off than us still? If the people parked outside of football club training grounds are anything to go by, then yes, those chasing the Baron’s Claw are still around. Instrumentally defiant moments which soon turn into chilling explorations of fame and the soft rewriting of history.
Doherty is a sharp writer, and his convincing storytelling takes on a new form with The Day the Baron Died. He has marked a story without end, so he can continue it further down the line. But the off-kilter drums which back the story so far are a welcome addition, as are the instrumental breaks; the thrills they provide are a break from the narrative, more than anything. It allows the story to settle, a wailing guitar and steady, defiant percussion beat away, building to the epilogue-like reflection at the end of the song. Doherty toys with the format of his songwriting once more here and comes through with a wonderful piece of work, one which has us question the star power of those we do not know intimately. Flash cars, the iron and ore stockpile, these are the telling signs of wealth, and that is what we must question.
Doing so reveals some tremendously light acoustic work, the sudden power of drums backing those tears of joy, it all feels tinged with fear. The characters, that is, in awe of the ever-present claw, whatever tool of war that may be. There are great wars mentioned by Doherty towards the end of The Day the Baron Died, and when his passing comes it is the rewriting of history, the forgotten moments of chases and chills, which we need to cling to. Much the same for the modern world, at a time when nuance has slipped through the cracks. The Day the Baron Died does not feed this all too much, but it does hold itself as another strong narrative piece from Doherty; his continued exploration of lyrical flickers is a treat to hear.
Felt Better Alive sounds as though its tonal similarities, its theme, is based more in the instrumental thrills than the storytelling. That is not to say the trio of songs so far are at all fragmented. The Day the Baron Died is certainly a push for a new wave of influence from Doherty, and it will no doubt work for those familiar with his writing. But it too shall work for those with an interest in stories of old, in the history we were taught and try to remember. What detail gets muddled along the way we may feel is inconsequential, but the iron and ore, the very fundamental truth to be found in the details of history, are what Doherty wishes to focus on. A vibrant song, which, considering the depths of darkness he can plunge into with his writing here, makes for a very nice contrast, which defines The Day the Baron Died.
Discover more from Cult Following
Subscribe to get the latest posts sent to your email.
