Young, loud and punk. This is the mixture that makes Dogrel, the first album from Fontaines D.C., one of the most interesting releases in 2019 so far. This young band from Dublin (singer Conor Deegan and Carlos O’Connell, Conor Curley, Grian Chatten, Tom Coll) built its reputation thanks to powerful live shows and the success of the previous 7inch and took advantage from the post punk revival in the last couple of years, mainly represented by Idles and Shame. The urgency to express how Irish grey daily life crosses the dreams of new generation made the rest, and the musical language couldn’t be different from their fresh pub-rock-punk formula.
In this sense Dogrel, out for Partisan Records, is the coherent outcome of their experience so far, highly awaited and appreciated by underground community as by UK charts (n.9). As an influence the band cites Iggy Pop’s Lust for Life, but in Dogrel you can taste the flavor of Clash’ eclectic punk, the impetuosity of Pogues and the dark side of post punk. In a period in which Facebook rules and the idols are r’n’b singers, Fontaines D.C. give voice to the multitude of restless young people who don’t want to escape from a complicated reality and want to find their own way to react to the social-network-daze.
“Big” is a messy identity declaration led by trashed spoken: “Dublin in the rain is mine, a pregnant city with a Catholic mind”. The following “Sha Sha Sha” is a tense but gentle rock song, preparing the listener to the devastating “Too Real”, an explosion of punk fury and noise aggression. Fantastic. “The Lotts” is a brilliant tribute to The Cure and the post punk shades, while the task to release tons of melancholic vapors is in charge of songs like “Roy’s Tune”.
Fontaines D.C are a healthy shout in the dark of these gloomy times, so take care of them.