Tag Archives: Grian Chatten

GRIAN CHATTEN: Chaos For The Fly

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It’s easy to feel a bit nervous when the singer from a band you adore releases a solo record. You immediately assume the worst and think it’s all over. You wonder why couldn’t they just make this record as a band. Why. Why. Why. Then you stop being an overdramatic idiot, and listen to the record. Then it clicks. It clicks that they had to make a different kind of masterpiece. Something brand new, something so mighty important.

The record opens with a sentiment that is always evident in Grian’s lyrics- openness and vulnerability. There’s no denying he’s a poet. He paints the world in a way that makes you feel safe and seen. He takes the greyness of the world and turns it into something beautiful, and full of life. The Score has an understanding within it that most can relate to, then it gently goes into Last Time Every Time Forever, and it’s got a slight folk feel to it but at the heart of it all- it’s something so pure that Grian has created. It’s unlike anything else you’ve ever heard. His voice is so distinctive, and the clarity in his voice makes you connect with the lyrics even more. Fairlies sounds like a 90s Indie song but lyrically it feels like something I can’t quite work out. It has a protest feel to it, and it has depth to the lyrics that you’ve probably heard in the likes of Bob Dylan or Leonard Cohen. I honestly wouldn’t be surprised if Grian’s name is mentioned in the future in a list of the best songwriters ever. I’d put him there now, but in 10/20 years his art will be even more mind-blowing.

Bob’s Casino tells the story of a gentleman who is obsessed with the casino but loses everything. You can hear the sorrow; you can feel the sorrow in the lyrics. It’s such a gorgeous song, and the sadness in it still warms you because Grian’s way of singing this just makes you feel comforted. I’ve been solidly listening to this record since Friday, and I’m currently going between two songs that I’m just in love with- it’s between All Of The People and East Coast Bed.

The lyrics to All Of The People may be up there as my favourites of the year. There’s something solemn about it, but at the same time this darkness feels like a safety net. There’s a line that just hits me right in the gut, and it’s one of those lines that you wish you could have tattooed on you: “They just wanna get close enough to take the final shot. They will celebrate the things that make you who you’re not.” The violin and piano on this just adds this extra emotion. As someone who will take loud Punk music over most, this still speaks to my heart. Lyrics are so important to me, and a record like this fully shows why. Grian- you are a bloody genius. There’s a lot released in this song, and you can really feel it.

I’ve read the meaning of East Coast Bed, and I don’t think I can ever listen to it without crying. In essence, it’s about death. It’s about the death of Grian’s hurling coach who was like a second mother to him. Songs about grief and death can be heavy and traumatic to listen to, but this feels lighter. I’ll never be at the stage where I feel lighter about my Gran’s death, but there’s some reassurance in this song that maybe it’ll be alright. It is such a gorgeous song, and the way it makes you feel like you are floating off into a gentle sleep is so soothing. It’s still one of my favourites, even if it makes me bawl like a baby!

I’ve unintentionally written about six of the songs on the record, but that doesn’t mean the remaining three mean any less. They mean just as much. I love the way Salt Throwers Off A Truck sounds like it could be the name of a novel. The song itself sounds like it could be the foundations of a novel or film. I Am So Far is a haunting and melancholic one, and it is heavy but as Grian has described it, the song sounds like water. I think I understand what he means here. There is something safe about water and watching it from afar (I can’t swim so….) Open bodies of water feel really calming for me, and maybe that’s due to growing up on the Isle of Man and having access to beaches easily, and just being able to breathe in the sea air and feel somewhat calmer. You really get this from this song, and the whole record feels like you’re slowly attempting to calm down. It’s music for the soul, and it hypnotises you in the most enthralling way imaginable.

The record ends with Season For Pain- a title that Rimbaud himself would love. It’s a perfect way to end the record. It’s about moving on, and you can hear the relief in Grian’s voice on this especially at the end where you feel that he’s at the right head space to move on. When you get to that place, it is the most freeing feeling. It’s shite beforehand but when you get there, you feel lighter and better.

Nine songs in just over half an hour. You want more, of course but this record is perfection. Every song flows beautifully and perfectly into the next. Everything is in its right place, and it’s just one of the most honest and captivating records of the year. It’s the kind of record you’d give to someone and say, “Listen to this…everything will make sense and feel better.” There’s reassurance and understanding on this record, and to be honest, what more could you want.

FONTAINES D.C. : A Hero’s Death.

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In a few small hours, the world will be able to finally hear the new record by Fontaines D.C. I don’t say this lightly when I say it is truly one of the most heartfelt, heartbreaking and brutally honest records of the year. There will be no comparisons to their debut, Dogrel. The only fair comparison is that both records are phenomenal and show us exactly why they are one of the most exciting and exhilarating bands around. If you’re looking for a record that soaks up all of your anger, insecurities, fear, lust and all that goes in between, then this is the record for you. Treasure it.

Fontaines D.C. are quite frankly the best at what they do. We can all agree on that, right? With so much uncertainty in the world it’s hard to find any good in anything or in anyone. It’s totally okay to have a meltdown. It’s okay to feel like shit and not have the words to describe why. You can be as happy as a pig in shit one minute, then be a bawling mess the next. I get it. More than I wish I did. One of the few things that can get me out of a rut is music. Certain bands can drag me out when I can’t. We all look for a crutch in conventional and unconventional things. What they have done on A Hero’s Death is something that goes beyond words. It’s the record you’ve been needing for so long. You’ve been so desperate for this record. You will cling to it- day and night. It will be all you have at 3am when the world goes quiet, but your mind doesn’t.

Vocally, Grian has excelled himself. His voice on this record is that of someone who isn’t afraid to be vulnerable with their words and share them with you in a way you didn’t know someone could. Without being too personal, I’ve struggled since last August when my Gran died to find any joy in music. I didn’t want to hear anything new. I didn’t want to hear anything old. I got in this phase of just playing certain songs over and over. To the point where I didn’t want to listen to music. I cried myself to sleep many times listening to The Murder Capital. I blocked out bits of grief to Fontaines D.C. I was finding ways to cope. Nearly a year on, I’m still there. I’ve made peace with grief, fully not accepting she is gone at times. The poetry on A Hero’s Death is beautifully crafted, a sheer romantic record in all ways possible. The typical to the not so typical. One thing that is constantly constant is the greatness and honesty on the record.

A Lucid Dream is my number one obsession right now; I love the ferocious energy it has, and I cannot wait to see them perform this live (May cannot com quick enough.) There is something about the way it musically sounds like The Birthday Party but vocally, it goes beyond. I love everything about this song. You can just imagine it being played live, with the lights as dim as possible with the smoke machine going on overdrive, and everyone in the room just loses their mind to it. Heavenly. God, I miss going to gigs.

You Said is a gentle number, vocally. But don’t let that fool you. It is a monster of a song and the way A Lucid Dream flows right into it is just divine. I love how the songs flow into each other. The order of the songs on A Hero’s Death is sublime, and you cannot help but fall in love with this record within seconds. Their second record comes just around 18 months or so (a little less) than their debut. You can hear the growth and power in what they do. I’m all for music sometimes keeping me on edge/making me feel a little uncomfortable but A Hero’s Death is a safety net. It is such a comforting record that just soothes your soul. One of my favourite moments on the record is Carlos and Conor’s guitar on You Said. It is so gentle, but it is so powerful. Mix this with Tom’s ethereal drumming and Conor’s slick bass- you’ve got the most beautifully created song imaginable.

There is so much poetic imagery on this record, and songs like Oh Such a Spring feel like a lullaby and all of a sudden you are smacked in the chops again with the title track. It’s an effortlessly brilliant move, and the way Grian chants “Life ain’t always empty” just makes you feel less alone. The song is a mantra for those who are unsure or are struggling. It’s alright. It’ll be alright.

The last song on the record is just over 5 minutes long and I urge you to play No on your own, through headphones. The whole record should be played like this, but this song in particular just makes you feel like you need to go outside and find a place quiet/sacred and listen to it through headphones with no interruptions. Make this song yours. It is one of the most beautiful songs I’ve heard in a long time. I read somewhere that bands like Suicide and Beach House played an influential role to this record. As someone who adores both bands, I can definitely hear a nod to Beach House on this one. It is the most perfect ending to such a perfect record. I’m in awe of every single song.

2019 saw the band probably work harder more than most. Touring was relentless and their music was (and of course, still is) vital. A Hero’s Death is one of the few positive things to happen this year, and my god it is such a powerful and important record. It is one of those records that you hope some kid in a tiny village hears, and they scribble their thoughts in a notebook. They find like-minded pals and form a band which allows them to speak their truth and what they see/feel. It is such an inspiring record, and I honestly don’t think anything is going to top this record. I love the sense of community the band give off. You can feel it on the Facebook group, you can feel it intensely at their live shows. They are a band that just make everyone feel every single word, every note, every beat. Every single detail is felt right in your soul. And you cling to it.

With 11 songs coming in just over 45 minutes, Fontaines D.C. have given us something to treat as our reflection. Something that pulls things out of us that we may be afraid of. It’s comforting but it is also THE most exciting record of the year. My words don’t do this record justice. It’s out tomorrow- BUY IT!

FONTAINES D.C. : O2 Ritz, Manchester 19th November 2019.

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“A sell-out is someone who becomes a hypocrite in the name of money. An idiot is someone who lets their education do all of their thinking. A phony is someone who demands respect for the principles they effect. A dilettante is someone who can’t tell the difference between fashion and style. Charisma is exquisite manipulation, and money is a sandpit of the soul.”

 

Recently crowned by Rough Trade as being their record of the year, Dogrel by the mighty Fontaines D.C. is a record that you need to witness in a live setting. If like me, you’ve been playing it almost religiously since it came out this year you will know just how powerful this record is. It’s romantic, it’s brutal, it’s honest and it is powerful. There’s only one way to play it, and that’s loud. In a live setting, it becomes something else. I knew it was going to blow my mind, but my god it exceeded everything and anything I thought about this beautiful band.

Their set is basically Dogrel in full, and every song is performed with this ferocious energy that makes you believe in every single word that comes out of Grian’s mouth. He’s a poet yet he delivers the words in a way of a preacher, it’s absolutely hypnotising and such a great thing to witness. As I watch the band, I can’t help but feel that they have the same energy and presence that The Birthday Party had. Grian stalks the stage like a young Nick Cave; Carlos and Conor are like Rowland S. Howard and Mick Harvey/Blixa.

 

 

Fontaines D.C. are unapologetically loud, and they touch on subjects that most tend to shy away from. Their songs touch on the sexism in the workplace to dreaming of being big to black cab drivers. There is so much reality in their songs, and this reality is something that many would fear or try to shy away from. No one at the Ritz last night was shying away from any of this. Pints of beer were flying; middle aged men were screaming the songs at the top of their lungs and the kids at the front were no doubt soaking up everything Fontaines were giving us to create their own noise in the future. I sure hope they do.

Songs like Too Real, Sha Sha Sha and Liberty Belle see the venue absolutely erupt in euphoria. We all know that this is one of the greatest records of the year and beyond, but trust me it all changes when you see it live and when you are surrounded with people who love this record, and this band as much as you do. You feel at home and oddly secure. Chequeless Reckless was my highlight for sure, but I’m going to touch on the set closer Big shortly which was equally as powerful. So, Chequless Reckless goes beyond being a song; it is a vital piece of poetry that should be studied. I honestly wouldn’t be surprised if, in the future their lyrics find their way onto syllabuses in schools. Fontaines are no doubt our future and are showing us a side that we need to be exposed to. You can see their world anywhere, but so many chose to ignore it. Don’t. Just don’t. I love the way the band just play with this urgency and dedication to make these songs be heard. Grian’s vocals takeover the venue, but when you see the sheer devotion in the way Tom beats the living shit out of the drums and how Conor treats his bass like a machine gun not to forget how Carlos and Conor thrash their guitars about with this sheer Punk energy that would make even Johnny Ramone proud if he was here. If you were at this show last night, chances are that like me, your love and obsession for Fontaines has gone through the roof.

The band end with Dogrel’s opener, Big. In a way, this has become a bit of an anthem. All their songs have done this. Fontaines could easily sell out arenas there’s no denying that, and maybe this will now be the last time we get to see them in a venue this size but their songs and the way they perform them do create a sense of intimacy and sheer devotion between the band and the fans. Big is THAT song that will inspire many to get out of their current town and to make it elsewhere. Anyone can do it, and the self-belief that Fontaines have, and had got them where they are now. Big is the song you play to pump yourself up or to just give yourself reassurance that you can make something of yourself, even if your beginnings aren’t grand.

 

 

If you’re looking for a band that will blow your mind, burst your eardrums and leave you covered in other people’s drinks- then go to a Fontaines show. It was most certainly one of those shows that you know people will be talking about in decades from now; it was memorable for so many reasons, and as time goes on those reasons will evolve. People will start bands because of this show, people will create their own poetry because of this show, this band and Dogrel. There is no denying just how brilliant Fontaines are and of course, they deserve to be big. Last night’s show went beyond proving that. Definitely one of my favourite shows of the year.

 

FONTAINES D.C. : Dogrel.

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This is a record that I should have written about the day it was released, but I wanted the record to really sink in before I even got started on this. It’s a heavy record- in both sound and lyrically. It isn’t a record to casually listen to. It is a record to invest yourself in, and to completely focus on. The past few weeks or so, Dogrel has been a record I have constantly listened to. Over and over. I think I’m now ready to put my thoughts about it out there.

I’ve not read any opinions on this record, but I’m assuming it is loved by so many. How couldn’t it be? It is one of the most important records of our time, and is an astounding debut. For a band to have this much power so early on is something to really treasure, and to keep a close eye on. Fontaines D.C. aren’t a band that are going to just fade away with what they have done on Dogrel they are likely to keep on doing. They have made songs that will last a lifetime and more, they are a band to hold dear and lean on. How did we get this far without them?

 

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Big opens the record; a song that sets the tone for the record and how Fontaines D.C. are surely going to take over. They give hope for those for may have been held down, told they can’t do something and made to feel like they can’t get out of their situation. It’s a song for lost souls who know there is something more out there for them. Grian pours his heart out on this and it something that is occurs throughout the whole record. Too Real and Television Screens are the songs that you know are chanted right back at the band at their shows. Every single song on this record has the feel of an anthem. You can imagine crowds singing this on the terraces, in the pub, on a walk home from a night out or just being at home and shouting them out like your life depends on it. These songs are made to be heard, but also screamed along with. Grian doesn’t scream, but his voice has the same power as if he is. You cannot help but soak up everything he sings. The band are lovers of poetry, and that is something that is apparent throughout this record. They aren’t just songs. They are poetic symphonies that have so much heart and passion. There’s a Beat Poet style about them, and I am completely in love with it. It’s a style of poetry that is just stunning, and they have their own take on it that’s beautifully portrayed in their songs.

There have been so many astounding records this year. Records from bands that we have been in dire need of, bands who are just getting started but make you feel like you’ve had their music in your collection for all your life. Bands that have this urgency in their sound that makes you feel like nothing can touch you. Dogrel is the kind of record you would use as a shield to protect yourself from the world. There is so much nostalgia in this record, but Dogrel also has hope for the future. This record is the future, Fontaines D.C. are the future. I can safely say that I have not become completely obsessed with just one song on this record. It has been every song that I have been in awe of. As soon as it ends, I start the record all over again. However, to mention Television Screens again- I just have to say that the vocals on this are my absolute favourite as well as the drums. I love the gentleness on this song, but how the lyrics are so hard-hitting and get you right in the gut.

Fontaines D.C. are a band that we are in dire need of. They aren’t afraid to be painfully honest to be so open in the topics they touch on. They talk about their city (Dublin) in a way that makes you connect it to your own hometown. You connect with the frustrations, the passions, the struggle of daily life. They give it to you in a way that makes you feel like it is your own story.

 

 

Dogrel is clearly one of, if not THE most fascinating records of the year. It is rowdy, poetic and brutal. It is a bold statement that oozes charm and bravery; something that we are so desperately in need of.