Having embarked on his first solo venture in 2009, little-known, media-shy singer-songwriter Peter Doherty is returning to our airwaves. This time he's back at the helm of Babyshambles. The terribly named Sequel To The Prequel is the band's third LP, and follow up to the actually rather good Shotter's Nation, released way back in 2007.

In 2007, indie guitar music was cool and often pretty good. Now, in 2013, it's neither of those things. Until now that is. Sequel To The Prequel is everything its name and lead singer's 'recreational hobbies' wouldn't suggest - it's really rather good.

As it turns out, Peter's penned something of a blinder; this is arguably the best collection of songs he's released since his days in a little-known band called The Libertines. Moreover, in light of The Libs' dismal attempt at a comeback, Babyshambles are the more inviting and relevant prospect these days.

Opening with 'Fireman', you'd be forgiven for thinking that the band had resorted to hard, fast, crass indie-punk due to a lack of ideas. Equally, second track and lead single 'Nothing Comes To Nothing' is catchy enough, but it's certainly nothing to write home about. From here though, it's the most varied and coherent of Babyshambles' releases. The drawn out, hit and miss days of Down In Albion are long gone; the more focused approach of Shotter's Nation remains and a welcome host of new influences are proudly on display.

Sequel To The Prequel takes the Parisian tinged acoustic elements of Doherty's solo record, Grace/Wastelands, and mashes them wonderfully together with lashings of Blur-esque Britpop and 90s alternative rock.

'New Pair' and 'Fall From Grace' echo the better moments from Grace/Wastelands whilst adopting a more straightforward approach. Both are great examples of just how good a songwriter Doherty still is. His lyrics may not be what they once were, but his knack for a good melody remains intact. The most enjoyable thing about Sequel To The Prequel though is the band's embracing of a more mature guitar sound. Whilst they've far from abandoned their rough and ready approach, the guitar lines have developed to embrace a greater variation. 'Penguins' has an almost Ty Segall quality to it, especially with Doherty's vocal drawl. There's a real garage-psych tinge to it.

Closing track 'Minefield' is the band's furthest departure from anything Doherty has done before. From the slow-burning bassline to the piercing guitar shrieks, it owes more to Pixies than anything else and is comfortably the standout moment on the album. From this new approach, to the very Libertines 'Maybeline', to the folk-tinged 'Picture Me In A Hospital', Sequel To The Prequel is an amalgamation of everything that we know Pete Doherty is good at, and a lot more.