In case I am overrating this album a little - please know that I am willing to do so. After all, when was it last time that I was this excited about a modern debut record?
'Dogrel' alludes to a particular type of working class poetry once big in Ireland. It is a fitting title as 'working class poetry' is exactly what this album is about. Working class poetry sung in thick Irish accent so high on attitude they can get away with repeating the word 'tyre' eight straight times (in the incredible "Sha Sha Sha", which may or may not be their take on "London Calling").
The sound of Fontaines D.C. is not unique, so what impresses me most is its undeniable freshness. Freshness, urgency, spiritedness. I guess the sound does owe something to The Fall, but then Mark E. Smith would probably say they remind him of Steely Dan. Be that as it may, Fontaines D.C. build their songs around infectious grooves that pump tons of blood to your heart - if not, in fact, to your limbs that have not danced to a decent song in ages.
Some complain about the bad mix, but I do not hear it. As far as I am concerned, these people should either get out more or listen to the goddamn tunes. Because the tunes are emphatically great - in fact, most of them had come out as singles prior to the release of the album. Out of these, the opening "Big" is a standout; one minute forty six seconds of pure guts, attitude and classic lines. "Liberty Belle" is almost as good, and almost as short, but even with lengthy five-minute grooves they are fully capable of holding your attention ("Hurricane Laughter", "The Lotts"). They are not afraid of repetition, but that is because they know they are on to something here.
They do beautiful, too, and "Roy's Tune" (I have heard people compare that intro to The Go-Betweens, no less) is a masterful working class ballad whose lyrics do resonate. And it is most welcoming to see them take on rootsy Irish music on the closing "Dublin City Sky" which is as derivative as it is special - coming as it does on the heels of the propulsive, James Joyce name-dropping, cool-as-fuck-and-we-know-it "Boys In The Better Land".
And it is important. I believe Fontaines D.C. know exactly how good they are, but for once this overconfidence is justified. They come fully formed, to the extent that I am slightly afraid for their future. And excited about it, in equal measure.
