Now the Real Thing's Here, Fontaines D.C, A Hero's Death, Album Review
- Ella Peebles
- Aug 4, 2020
- 4 min read
After the huge success of their debut album, Dogrel, which was nominated for the 2019 Mercury Prize, there was much pressure riding on the shoulders of Fontaines D.C in seeing where their new music would take them. Just over a year after releasing their debut, they make their return to the industry with 'A Hero's Death,' an album that can be described as being a reflective, and yet honest look towards the band's future. The new album is produced by Dan Carey, the same producer of Dogrel, and yet it manages to break away from the post-punk sound, whilst assuredly remaining characteristically Fontaines; a band with members who demonstrate a mature, and assertive take on the world around them.
What I think is particularly impressive about the album as a whole, is its ability to match up with, but not directly reflect the debut. The first track, 'I Don't Belong,' could arguably be a political message from the band, but more likely, a validation of their own identity. The slower paced, composed nature of the music brings about this mature sound that sets us up for some deeply resonant messages, not dissimilar to 'Dogrel,' but crucially, with a newfound vision.
After hearing all three singles for the album, I was more consciously aware of musical variation in this album, and suffice to say, I was not disappointed. The change in texture during the last half of 'Televised Mind,' provides a welcoming contrast to the recurring guitar phrases; guitar phrases not dissimilar to Joy Division in many areas, with overlapping motifs carrying a harsher post-punk sonority. Despite the clear influences such as Joy Division for the band, Chatten has said that some of the influence for this album came from The Beach Boys, especially reflective in vocal melodies in 'Oh Such a Spring' and 'Sunny.' Chatten's vocals on 'You Said' were particularly impressive in the way he manages to convey feelings of persistency, and monotony, whilst exploring the idea of being able to embrace this. A key thematic part of this album is based around staying in the moment, and consequently, not "getting stuck in the past." It becomes clear to us that the band felt as if they had to ignore the success of Dogrel, because having to replicate something with so much reverence brings about its own stress and fear. To"live life not as a climbing stair," provides a moment of clarity and appreciation for every success, rather than comparing them to early ones. The band display the idea that the industry is easily able to hone in on reaching certain standards, but Fontaines D.C are making it clear to us that the only people making their standards is themselves.
The title of the album, 'A Hero's Death' comes from a line in a play by Irish writer, Brendan Behan. Due to this, we still have that familiar Irish rooted band heritage, and yet, whether it's consequence of touring and movement, or a wish to broaden their horizons, the album feels like a step away from Ireland, and a step towards a future of movement, and its impact on the writing and recording process. What's interesting, is that Chatten deduced that this album was an "effort to balance sincerity and insincerity, happiness and depression." Fontaines D.C have given themselves opportunities, by giving themselves "to every breath," and yet it clearly doesn't come without its problems. The band were said to have been particularity interested in the artificiality of consumerism here, and the idea that humans are becoming products. Chatten's terrifying reality is the eventuality that the product is what becomes too good for you, rather than the contrary. Sincerity, and integrity, being morally dignified, may soon become a thing of the past. Despite this, the band desperately try and hold on to a relatively positive outlook, and employ their independence to do so. Arguably, the most interesting parallel between 'Dogrel' and 'A Hero's Death,' is the use of the word "antiquated," used both in 'Television Screens' and 'I Was Not Born.' It's hard to simply disengage with the similarity here, when Chatten's clear and overpowering message throughout his musical career, is to stop spending too much time looking backwards.
In terms of artistic cleverness, 'A Lucid Dream,' is essentially a stream of consciousness that reflects the nature of being in control, and yet still feeling out of control, driven by an intense bass line, and drumming section. Despite the band's assertiveness, the vulnerability that shines through the lyrics is particularly memorable, and whilst their dreams of the future may run smoothly, the way that the "rain changes direction' is unpredictable. The use of eerily haunting harmonies towards the end leaves us with this instability, but oddly the apprehension is brought to a minimum, as we see into these real life struggles as if they were our own. The statue of Irish demigod, Cu Chulainn on the album cover, is characterised by his deep, unrelenting emotions that are perhaps more human than we may think.
There's some songs that you simply sit down and listen to thinking that you have been waiting for it to turn up your whole life. The final track on this album, 'No,' is a prime example of how Fontaines D.C can create an unorthodox ballad, and turn it into something hauntingly brilliant. Structurally, this was such a great way to finish off an album that highlights confidence, perseverance, layerings of technique, and such potential for the future. I find it extremely inspiring, and a huge motivator, that talented bands like Fontaines D.C can display their passion through expression of such well-thought and crafted ideas; if they carry on like this, I have no doubt they'll all be in the running for a hero's death!
Listen to: Televised Mind, A Lucid Dream, A Hero's Death, No
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