Within their distinctive sound, you might hear the lingering resonance of Sinéad O'Connor's profound lyricism, as well as a deep-rooted connection to a rich lineage of Irish poets in direct combination with artists as disparate as The Beach Boys and Iggy Pop.
At the heart of Fontaines D.C. lies the enigmatic lead vocalist and primary composer, Grian Chatten. With his commanding stage presence, distinctive vocal style, and introspective and often darkly humorous lyrics, Chatten has carved out a unique place within the band and, by proxy, the world’s music scene. Drawing inspiration - directly or otherwise - from the likes of James Joyce and Samuel Beckett, he has shown the capabilities of turning a phrase that captures raw emotions and stark imagery, encapsulating the essence of Irish storytelling.
Chatten's lyrics resonate with a linguistic virtuosity reminiscent of James Joyce, and he certainly possesses the same keen eye for both the nuances of everyday life and folklore of old - often elevating both to a profound standard. In songs like "Boys in the Better Land," he channels the spirit of Joyce's literary call for boldness and self-realisation by questioning societal norms and challenging the listener to embrace their true selves.
Likewise, Chatten also shares an affinity with Samuel Beckett, whose existential themes and exploration of the human condition have left an indelible mark on the Irish literary landscape. In "Too Real," Fontaines D.C. captures Beckett's notion of embracing failure with resilience and a relentless pursuit of meaning, mirroring his famous words: "Ever tried. Ever failed. No matter. Try again. Fail again. Fail better." Chatten's lyrics reflect the struggle to find purpose and meaning in a chaotic world, echoing Beckett's relebtlessly questioning mind.
As Chatten continues to evolve as an artist, he is now preparing to embark on an exciting new chapter with the release of his highly anticipated yet quite surprising debut solo album.
In essence, though, away from his day job, it’s just the songs that matter here: we already know (and love) the voice. Chaos For The Fly is 9 tracks long, and showcases Grian’s softer, more sensitive side in a fuller, more considered way than he has been able to show on any of his previous albums.
Opener “The Score” features Chatten in sedate, tuneful mode over gently fizzing and skittering electronic beats and glistening fingerpicked guitars. Then “Last Time Every Time Forever” brings to mind early David Bowie and Mazzy Star (he’s also a fan of Cowboy Junkies, so those too!) with its blissful pace and soothing sonic textures.
“Fairlies” is a wonderful slice of folk rock, with sharp hooks and a festival-ready chorus. It’s here that the production - shared between Grian and, obviously, Dan Carey - really shines.
“Bob’s Casino” evokes both Stereolab and Spiritualized in its haunting, almost ghostly reverie, before “All of the People” appears - a minimal, plaintive ballad. Another one of those appears later, on “I Am So Far”, which you could argue is the closest the album comes to sounding like it might have been made by the singer of Fontaines D.C.
The album ends on “Season For Pain”, which is earnest and sincere and more than a little bit indebted to Nirvana. It’s a beautiful way to finish a remarkably restrained and sedate record. The lyrics throughout are wonderful, and a true testament to the standard of artist that composed them. To isolate them is to do them a disservice, and completely rob them of the context that we are meant to find them in. Enjoy picking through them.
This isn’t a perfect album - far from it - but it is stylistically consistent, thematically coherent and beautifully composed. You might - especially if you’re a fan of Fontaines (why else would you be here?) - wonder why Grian didn’t factor in one song to just let his voice out of its cage. Perhaps that was intentional, and he was saving those songs for Fontaines, but you just get the feeling that you’re looking at the world’s biggest tiger while it’s asleep. Impressive, but the full power isn’t on display.
