Album Review :: Fontaines D.C. - Dogrel

Album

Fontaines D.C.

Dogrel

April 12 2019 (Partisan Records)

9.5/10

Words: Linn Branson 


There have been few bands over the last 12 months who have generated as much interest and glowing approbation as the Irish quintet Fontaines D.C. Unusually too, in such a relatively short space of time they have reached far beyond the walls of Dublin's fair city, further even than across the channel to UK - extending to the USA to make their mark in a similar fashion to Shame earlier.

After four critically acclaimed AA-side singles, they now present their Dan Carey-produced debut album; their depiction of life now in their home city, spread across 11 songs in a compact 40 minutes of real, honest songwriting and original commentary.

With a fair number of the tracks having already been heard as singles, 'Dogrel' still manages to sound as fresh as any unheard work. The album opens with the rallying, short but sharp 'Big', and its first line, “Dublin in the rain is mine / a pregnant city with a Catholic mind”, provides an indication of what is to follow.

'Too Real', inspired to some degree by Chatten's reading of TS Eliot’s Prelude, builds over repeated instrumental breaks in between layers of propulsive guitars, as his commanding delivery spews out “Is it too real for ya?” The song works to the kind of climactic end that leaves you feeling exhausted, but fulfilled. Elsewhere, the melodic and perfectly timed ‘Television Screens’ is a pensive take on the TV as a means of reflecting daily life; while 'Roy’s Tune' is a wistful indie tale of life’s harsh realities, and was written by guitarist Conor Curley, who has said the band wanted it to stand as "a moment of reflection" on the album, included with "our intent as a band and as songwriters. We intend to explore whatever emotions or ideas we see, not just make ‘another post-punk album'."

There is a bruised softness to the poignancy of ‘The Lotts’, a haunting song named after the area in Dublin where the band used to practice, which sits in contrast to the raw-edged garage rock of debut single 'Liberty Belle', and the blistering 'Boys In The Better Land' - which Chatten describes as "a celebration of independent thought" - a five-minute onslaught that admirably shows the five-piece at their most visceral.

While there may be a small number of albums released in the months ahead to stand on equal footing with 'Dogrel', there is unlikely to be many - any - who will surpass it.