Roy’s Tune is equally sad and good, a steady Britpop ballad with a touch of the naivety of Ian Brown’s earliest performances. The 21st century is full of pseudo-intellectual indie bands. The video featuring his 11-year-old neighbour belting it out on Moore Street is one of the best of the year. For listeners not versed in the Irish punk scene, his extremely characterful voice is as bracing as Alex Turner’s was when Arctic Monkeys broke out, and he uses it to voice a boisterous cast of personae: bullish yuppie on opener Big; ranting preacher on Chequeless Reckless; fond documentarian on Liberty Belle: “You know I love that violence that you get around here / That kind of ready-steady violence.” That song and others here are fantastic ramalama surf-punk hits, but the five-piece have real range on this perfect debut. The Dublin-based quintet are breathing new life into guitar-based alternative pop and giving Irish music an almighty shot in the arm while they’re at it. Opener ‘Big’ might be a bell-heavy, clattering cut, but when Chatten barks that he’s “gonna be big” with the determination and intonation of a young (or, indeed, old) Gallagher, you’d be foolish to doubt him. As big-shot companies toy with the security and futures of the couple at its core, Chatten sings of evergreen eyes and the feel of cold winds against his skin, breaking off for a simple, earnestly-delivered question: “Hey love – are you hanging on?” It’s a question that countless young, placeless people could ask of themselves. Have you a moral duty to care for others?

It’s Me, Ellen: testing the reviewer’s faith, Goldsmiths Prize: The weird, the wonderful and the man-mermaid sex scene, Arsène Wenger and Jürgen Klopp pitch up on the page, Travel restrictions lead to harp handover on Wicklow-Dublin border, Paul Mescal goes 'in at the deep end' with Rolling Stones music video, 40 Irish female artists cover Cranberries 'Dreams' to raise money for abuse victims, Vera Lynn, the 'Forces’ Sweetheart', dies aged 103, Live music back on the bill as Australians enjoy drive-in concert. Don’t dip your pen in someone else’s blood: writers and ‘the other’, Keanu Reeves: ‘Grief and loss are things that don’t ever go away’, The Den: A brilliantly rowdy return. Unusually with a young lyricist, there’s little in the way of personal pronouns or stories in Chatten’s writing. Fontaines DC: Dogrel review – boisterous Irish punks' perfect debut (Partisan) Gonna be Big … Fontaines DC. Some naysayers might accuse them of being one-trick ponies, but they have a bloody good trick, and to be fair, The Lotts and Dublin City Sky reveal more strings to their bow.

Fri 12 Apr 2019 09.00 BST

Dogrel taps into Dublin’s rich humour and character. Furthermore, the vocals are megaphonic, more shouty than croony. The Irish troubadours come good on a debut album that offers both a storyteller’s narrative voice and a snarling new vision of youthful disillusionment. It’s all a bit more immediate; a bit more live. It is one of the killer tunes that have made Fontaines DC one of the most talked-about bands in Ireland and beyond. Take opener ‘Big’ - as solid and statement-making a start to a record as any of music’s great first albums. Dogrel is evocative, meticulous and rich in a love for the character of Dublin, and all the little things that, past and present, contribute to that. You won’t hear a better debut album this year; you might not hear a better album at all than Dogrel, the long-awaited inaugural effort by Dublin’s finest, Fontaines D.C., says Tim Cooper. ‘Dogrel’ moves with the pace of a Kerouac novel – full of the joys and possibilities and experiences of life. Instead, he turns his focus outwards, penning tales of his surroundings and their occupants, often with such close proximity that you’d think he could read their minds. Dogrel. Television Screen and Roy’s Tune aren’t quite as memorable or slick as the rest, but Fontaines DC do set the bar very high with anthems boasting killer lyrics, such as Chequeless Reckless (“Money is the sandpit of the soul”), Hurricane Laughter (“Cities barking by the windows screaming to exist”) and Boys in the Better Land (“He spits out ‘Brits out’. Available for everyone, funded by readers, The Bristol band on the power of sincerity, sharp dressing – and why they’re rising to the haters, Music stars pick soundtracks to get you through the next phase - for when you’re feeling peaceful, spiritual - or full of energy, The Dublin five-piece launch their brilliant second album with an intense, pre-recorded livestream event and bonus commentary, Artists including Self Esteem and Jayda G discuss the year’s biggest stories, from Stormzy’s landmark Glastonbury gig to industry problems with abuse. It’s a bit of a triumph, The Music Quiz: Which leading film director made a video for Frankie Goes to Hollywood’s Relax, Ensemble Marsyas/Peter Whelan: Edinburgh 1742, Barsanti & Handel, Parte Seconda. Television Screens has the kind of melody that would work in a traditional Irish folk ballad, but done as something Fugazi might play in their more tender moments. The world's defining voice in music and pop culture since 1952.

The Mercury Prize hasn’t favoured Irish acts before, but this year might be different, Niall Horan plays a sort-of gig for a kind-of audience. It’s perfect, Impressive and challenging look at the history of racist ideas in US, Frequently asked questions about your digital subscription, Specially selected and available only to our subscribers, Exclusive offers, discounts and invitations, Explore the features of your subscription, Carefully curated selections of Irish Times writing, Sign up to get the stories you want delivered to your inbox, An exact digital replica of the printed paper, Dublin band Fontaines DC: The New York Times is raving about them, Fontaines DC: ‘There’s a renewed sense of pride in being Irish’, Electric Picnic review: Fontaines DC – Brilliant and bracing, Una Mullally: Dublin belongs to you, even if you can't afford a piece of it. A twitchy rattle of ride cymbal and kick drum gives you an eight-second head-start before singer Grian Chatten’s blunt, no-nonsense brogue comes in to claim his kingdom: “Dublin in the rain is mine”. “A sellout is someone who becomes a hypocrite in the name of money.” Punk’s obsession with authenticity might be long storied, but few have addressed it quite like Fontaines D.C. frontman Grian Chatten – a matter-of-fact definition, delivered in a sneering lilt. It is a cracking debut that attempts to reclaim the city’s soul. It’s in the ‘grass is greener’ escapist sentiment of ‘Boys In The Better Land’, or the closing Irish drinking tune of ‘Dublin City Sky’, that these five Dublin lads prove their talent for painting in far more colours than just blacks and greys, and Fontaines D.C. have proved their worth as one of guitar music’s most essential new voices. The stark reality is that the Fontaines DC generation are adrift in a hyper-capitalist playground of extortionate rents and shameful levels of homelessness, and governed by a political elite who are chronically addicted to optics and spin. Legendary former Rolling Stone editor David Fricke also singled them out for praise at last month’s prestigious South by Southwest showcase. The album opens with Big, its ballsy first line, “Dublin in the rain is mine, a pregnant city with a Catholic mind”, and a short, sharp, shock blast of a tune that weighs in under two minutes. This is the kind of songwriting quality that bands can take years to reach, or never reach at all: brilliant, top to bottom. Partisan Records CD/DL/LP. Fontaines D.C. – ‘Dogrel’ review. The Irish troubadours come good on a debut album that offers both a storyteller’s narrative voice and a snarling new vision of youthful disillusionment. Can you guess the Collins Dictionary word of the year? Last modified on Thu 26 Sep 2019 12.03 BST. Big’s drums blow the … Fontaines D.C. are not intellectual.

They possess strength and depth beyond the hits. Despite the self-deprecation of the title (or high praise, depending on your take), Fontaines DC have vividly captured a spirit specific to their experiences of the city.

It’s these more melodic moments – no less potent for their lack of wide-eyed shouting – that really mark ‘Dogrel’ out as something special. A blast of joy in an uncertain world. A stark Joy Division-style bass line props up The Lotts, with Chatten’s lines filling each bar to the brim, resulting in a deceptively simple, powerfully melancholy song. © 2020 NME is a member of the media division of BandLab Technologies. Sean Connery often said it was okay to hit a woman. On debut album ‘Dogrel’, they display the unique results in exceptional style. What will the New York Times’s Trumpwatcher-in-chief do now? First published: Fri, Apr 5, 2019, 05:30, For the best site experience please enable JavaScript in your browser settings, Mercury Prize 2019: ‘F**k Boris’ stunt overshadows Dave’s win. Mercury Prize 2019: Can Fontaines DC win in a year of protest music? Dogrel does not overstay its welcome with 11 songs shoehorned into 40 thrilling minutes. ... Fontaines DC: Dogrel album artwork. ‘Sha Sha Sha’ is the bastard son of ‘A Town Called Malice’, Chatten sarcastically barking of pub-dwellers and midnight meltdowns atop incessant, choppy chords. Preparing your business for the practicalities of Brexit, Science Week: Looking to 2045 and a world full of exciting change, Running to reset in a fast paced world with smart solutions to track progress, The future is an attitude of hope and optimism, Are You There, God? Lockdown playlists for every mood, part two: chosen by Norah Jones, Joe Talbot and Flohio, Fontaines DC: A Night at Montrose, Dublin review – a blast of joy and disquiet, 'We’re existing on hope': Bat for Lashes, Will Young, Idles and others on music in 2019, Fontaines DC: A Hero’s Death review – sneer all you like, Idles review – snot, silly walks and compassionate aggro, 'Most political in years': critics hail Mercury prize's return to protest music, Irish punks Fontaines DC: 'You can feel the growing Anglophobia'.

Is Dogrel one of the best albums the year? It is a cracking debut that attempts to reclaim the city’s soul. It is hard to think of another guitar-driven Irish album since Whipping Boy’s Heartworm that is as effective and potentially world-conquering. ‘Roy’s Tune’ and ‘Television Screen’ are even more widescreen, the former a beautifully expansive tale of young lovers trying to make it through the tumult of capitalist forces. As Britain flushes itself down the toilet, Ireland has been extolled as some kind of progressive utopia in the wake of recent referendums. But the album cuts of ‘Liberty Belle’ and ‘Boys In The Better Land’ play faster, with frantic vocals and fuzzier guitar lines. It is wonderful that the eyes and ears of the world are fixating on a band who are so intrinsically Dublin. So it’s refreshing to hear a singer, Fontaines DC’s Grian Chatten, embrace of all the bleating music of a Dublin accent. The vocals on their debut album, Dogrel, are so loomingly loud that they practically eclipse the other instruments. Americans will proudly trumpet their Irish heritage even if their only connection for generations has been Guinness soulfully supped in a shamrock-festooned theme pub, but in pop this impulse goes the other way. Holding Hands with Jamie by Girl Band, who sowed the seeds for the current harvest of confident Irish bands, is certainly far more innovative.

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