Emma Christley Writes

How many times can I say I'm excited or looking forward to listening to an album in the new yearPhoto montage by the author2024 has been such a fun year for me as a listener. Not only have I listened to way more new music than I typically might in a year, but I also listened to a wider range of new music than I have in the past. One of the things I love most about doing this series is I’m much more likely to approach new albums and new artists with open-minded curiosity. If a project is getting any kind of attention at all, good or bad, I add it to the list because I want to hear what everyone’s listening to and I want to unpack what I think about it.For my last post of 2024 and before I take a brief hiatus (those Christmas cookies aren’t going to make themselves,) I’m sharing my list of albums I loved this year, some I’m excited to get to but haven’t yet, and my favorites I’ve written about this year.Usually I do a quick, informal roundup on my Instagram Stories, but since this is the first year of having a dedicated music writing Substack, where I write about my thoughts on music weekly, I thought this year’s roundup should have a bit more explanation behind my picks.Now, without further ado and in no particular order:Albums I lovedDeeper Well — Kacey Musgravesphotographer: kelly christine suttonI expected this album to be high up on my list, but when I really took stock of this year in music, this is the album I spent the most time with. More generally speaking, this was a big Kacey year for me. Not only did I review both this album and her 2018 Golden Hour, but I also had four separate Kacey hyperfixations this year — once early in the year when the singles were being released and once the album was finally out, another in late July when I was writing my review, again in September when her songs were particularly resonant at a time I needed to hear them, and again in November both before and after seeing her live. I already owned star-crossed on vinyl, but this year I picked up both Deeper Well and Golden Hour on vinyl, as well as Deeper Into the Well, the seven song extended version. Needless to say I liked Kacey Musgraves before, but after this year I am a full blown Kacey stan.My favorite songs: “Cardinal,” “Too Good to be True,” “Heart of the Woods,” “Jade Green,” “The Architect,” “Nothing to be Scared Of,” “Ruthless,” “Superbloom,” and “Arm’s Length.”hummingbird — Carly Pearcephotographer: allister annAnother album I spent a lot of time with this year, particularly this summer. This is such a perfect warm weather country album. After much deliberation, I think this might be the country girl divorce album, which was surprising given how much I loved Kelsea Ballerini’s Rolling Up the Welcome Mat last year. As more country stars are smoothing out their country edges, Pearce is going all-in on this record and it sounds amazing. On top of that, her songwriting is some of the best in country I’ve heard recently.My favorite songs: “truck on fire,” “still blue,” “rock paper scissors,” “woman to woman,” “fault line,” and “hummingbird.”The Forest is the Path — Snow Patrolalbum cover by gary lightbodyWhatever you might say about this band, I know they kinda fit into the “arena pop rock bands for dads” category with bands like Coldplay and U2, but I really do love them. I think they’re great musicians, have massive arena appeal, and Gary Lightbody has written some really excellent songs. Their last studio album, a whopping six years ago, left me disappointed, and after seeing this album cover, I was nervous. But this is a true return to form for Snow Patrol. Lightbody has spoken before about his many bouts of writer’s block, but it seems like when it comes back, it comes back big. Mixing big, bombastic melodies with Lightbody’s vulnerable lyrics is what this band does best and after six years, I’d say this is one of their best albums.My favorite songs: “Everything’s Here And Nothing’s Lost,” “Your Heart Home,” and “This Is The Sound Of Your Voice.”Romance — Fontaines D.C.artwork by lulu linNot to use a Kacey pun, but this was a slow burn for me. I heard a lot of buzz around the first single “Starburster” but was left underwhelmed when I listened to it. It wasn’t until I heard it again over loudspeakers during a pre-show mix at a concert that I heard its potential as a song played live. Then I heard “Bug” on my TikTok and had that on a loop for a few weeks. Then I decided to listen to the full album for a review, and found even more songs that I loved. It could be the recency bias, as this was my last album review before compiling my best-of list, but I really truly can’t stop listening to this album.My favorite songs: “Starburster,” “In The Modern World,” “Bug,” “Sundowner,” “Death Kink,” and “Favourite.”What’s Wrong with New York? — The Darephotography by sam wachsI’m also surprised that this made it on my list but I did have a brief hyperfixation on this album. Let’s be real, for as much music as I listen to analytically and for research, sometimes I just listen to music because it’s fun and that’s what this album is to me. It did eventually lead to a long essay on Indie Sleaze and Retromania, but this album first caught my attention by The Dare’s charismatic live DJ-ing (who knew pressing buttons on a mix board could be charismatic?) and all the buzz around him being the poster child for the return of Indie Sleaze. That piqued my interest so I started investigating and in the process I actually really loved this record. It is sleazy and it is nostalgic, but for those of us who didn’t get to experience the first wave of early aughts Brooklyn warehouse parties, this feels like what that would have been like.My favorite songs: “Perfume,” “Girls,” “I Destroyed Disco,” “You’re Invited,” “All Night,” “Elevation,” “Movement,” and “You Can Never Go Home.”Cowboy Carter — Beyoncephotography by blair caldwellListen, I try to be fair in my assessments and call a spade a spade, and this is a good album. It has a clear thesis statement, it delivers on that thesis, it’s ambitious and manages to reach its own high benchmark, and it’s wide ranging in its sound and features, which I interpret as clear co-signs of Beyonce’s mission. Plus the lack of critical reception from the country music establishment in the same year that Post Malone, a known genre interloper (no hate, I love Post, but again calling a spade a spade) was widely embraced by the establishment for “getting in the family” as Luke Bryan accused Beyonce of not doing, all further proves Beyonce’s point and makes this album all the more relevant, timely, and powerful. I’d love to see this win album of the year, not least because I really think it is that good and the kind of ambitious work that the Recording Academy should celebrate, but also I would love for Beyonce to finally win her AOTY award for this album in particular for the point it’s making more widely and for the obvious personal connection she has to this work.My favorite tracks: “AMERIICAN REQUIEM,” “16 CARRIAGES,” “TEXAS HOLD ‘EM,” “BODYGUARD,” “JOLENE,” “JUST FOR FUN,” and “YA YA.”Charm — Clairophotography by cj harveyThis is another album that snuck up on me, but after I wrote my review for it, I found myself missing it and wanting to listen to it again. It is somewhat one note, if I wasn’t listening closesly, I would think some of the songs run together into one long song, but on this album I like that. This would be a good snowy writing day soundtrack, which is why I’m still highly considering buying it on vinyl, which is in itself high praise in my book if I want to physically own it.My favorite songs: “Nomad,” “Sexy to Someone,” “Second Nature,” “Thank You,” “Terrapin,” “Add Up My Love,” “Glory of the Snow,” and “Pier 4.”eternal sunshine — Ariana Grandephotography by katia temkinRegardless of my mixed feelings on Ariana Grande personally, I have to say this might be her best album creatively. That was a tough statement to make because I do generally like Ariana Grande’s music and don’t think she has a bad album. She always sounds great, but this album is different from the others in that it feels more grown up. On past records it feels like she’s tried to put out a version of herself she thinks others want her to be, but this version of Ari feels closer to what real Ari might be like. At this point she’s been through a few massive heartbreaks and has been working on her dream project (she’s been dreaming about playing Glinda in Wicked since she was a child and now is finally doing it) so I imagine there’s some healing and growing that comes from both of those experiences and I think you can hear that maturity, healing, and growth on this record.My favorite songs: “intro (end of the world),” “bye,” “don’t wanna break up again,” “the boy is mine,” and “we can’t be friends (wait for your love.”Jury’s still out on…The Tortured Poets Department — Taylor Swiftphotography by beth garrabrantDon’t get me wrong, I love Taylor Swift. But this year has somewhat tempered my enjoyment of her music, not necessarily because of her, but because of everything surrounding her and this album in particular. Between all the back and forth about the merits of this album plus the easter egg dissecting around her relationship with Matty Healy, I was quickly fatigued from hearing about this album in every other video on TikTok for two plus weeks. It took me a while after it came out to even listen to it because I couldn’t get everyone else’s chatter about it out of my head, and while I agree with a majority of the criticisms like it’s too long, could have benefitted from an editor, and Swift’s working relationship with Jack Antonoff has potentially gone stale, I still enjoyed this album. But as much as it grew on me over time, it’s still not my favorite album. It has some of my favorite Taylor songs, but too many of the tracks just have one line or production element that takes me out of the song entirely. Because I didn’t outright hate it and bash Taylor Swift and anyone who likes her, but equally didn’t herald this album as her magnum opus and refuse to hear any opinions to the contrary, I felt somewhere in the middle. I’ve yet to feel the same awe and magic as I did the first time I heard folklore or evermore, and with each album that passes, I just want to go back to auroras and sad prose.brat — Charli XCXartwork designed by brent david freaneyI know this was the album of the summer, but again from the onslaught of public opinion about this album, I took my time before diving in myself. And maybe because I haven’t spend a lot of time with this album, or maybe because I’m not a party person, this album didn’t hit for me in the same it does for others. That’s not to say I didn’t enjoy it, because I did and I think it’s some of Charli’s best songwriting, but I do feel a bit left out that this album didn’t take over my entire being the same way it did for others. But seriously and without an ounce of sarcasm or bitterness, I am genuinely happy for Charli for all the success she’s had this year and for all the listeners who loved this album. Maybe I’ll be joining you in the future.Albums I didn’t get to but excited to hearI’ve accepted that I’ll likely never reach the bottom of this to-listen list, or at very least it will take a veryyyy long time. As I’m always continuing to add albums as much as I’m listening and removing them, a few have caught my eye and might take priority in the next year.Weird Faith — Madi DiazI wrote a piece this year about celebrating and following the careers of the backing musicians who play with our favs. I first encountered Madi Diaz when she was playing in Harry Styles’ backing band on Love on Tour. Since then, she’s put out her own album and toured as an opener for Kacey Musgraves (who has also opened for Styles in the past, the music world is small.) I’ve heard bits and pieces on TikTok, but have been saving the full deep dive for a warm spring afternoon.Trail Of Flowers — Sierra FerrellI’m so happy for Sierra Ferrell and all the critical success she’s been having, nominated for four Grammys. Just because the country establishment sidelines artists who are actually interesting, have a perspective, and don’t make cookie-cutter beige-sounding music, doesn’t mean these artists aren’t worth celebrating. Not that I think Ferrell would really consider herself amongst the country establishment anyway.Don’t Forget Me — Maggie Rogers$10 Cowboy — Charley CrockettRadical Optimism — Dua LipaBritpop — AG CookThe Secret of Us — Gracie AbramsIs this a safe space to say that something about Gracie Abrams irks me? Maybe it’s her nepo baby-ness, maybe it’s jealousy, maybe it’s something else, but I can’t put my finger on it. But even that didn’t make me immune to the inherent earworm that is “That’s So True.” I’m always willing to give artists a chance, particularly if I don’t like them, so I’m looking forward to giving this album a listen.Good Together — Lake Street DiveI’ve been meaning to give this band a listen, not in least because they’re one of my best friend’s favorite bands, but also because I’ve seen so much about them on TikTok. I am nothing if not a follower so if I see a bunch of people are loving a certain band or album, I’ll almost always give them a chance.The Great American Bar Scene — Zach BryanZach Bryan is, unfortunately, a very good songwriter so recent events aside, I will be giving this album a listen. A good objective journalist would be able to filter out everything they know about ZB as a person and just focus on the music, but I’m a journalist that believes true objectivity doesn’t exist and the personal must go hand in hand with the creative, as artists often bring parts of themselves into the art and in my experience, they usually tell on themselves in their art as well. So with that in mind, I’ll be interested how listening with that lens will affect both my enjoyment of listening and what ZB tells us about himself in this work.Am I Okay? — Megan MoroneyI Love You So F***ing Much — Glass AnimalsKansas Anymore — Role ModelThis Is How Tomorrow Moves — BeabadoobeeWhirlwind — Lainey WilsonI’m so sad for how quickly Lainey’s been dropped by the country establishment, she was their it girl last year and this year it’s been crickets. From what I’ve heard of the singles from this album, it sounds just like her first album, which they all loved and we know the country powers that be are not usually ones to look for a big change up between albums, so why so much love for her last year and not this year? I guess we’ll found out when I listen to the album, but I have a sneaking suspicion it has nothing to do with Lainey herself or her music, but rather they’ve fulfilled their woman quota and now they’re done.No Way To Relax When You Are On Fire — Dora JarAnother opener I saw that’s released her own album. I saw her on the 1975’s tour last year and wasn’t sure what to expect going in, but I actually enjoyed it and I’m really interested to hear what this album sounds like.Smitten — Pale WavesI loved the first single “Glasgow,” not only is it named after one of my favorite cities, but also the vocalist sounds a bit like Dolores O’Riordan, which you just don’t find voices like that much anymore. I regret not seeing them at TRNSMT festival in 2023, so as much as it will pain me to listen to this and discover how wrong I was to miss their set, I am really looking forward to this one.For Cryin’ Out Loud! — FINNEAS& (Ampersand) — BastilleThe Great Impersonator — HalseyWhat A Relief — Katie GavinPatterns — Kelsea BalleriniI loved Kelsea Ballerini’s last two records, SUBJECT TO CHANGE and Rolling Up the Welcome Mat so I’m excited to dive into this one, and honestly I feel a bit like a slacker for having not gotten to it yet. But I will, Kelsea, soon, I promise.Evergreen — Soccer MommyShawn — Shawn MendesMahashmashana — Father John MistyGNX — Kendrick LamarAlligator Bites Never Heal — DoechiiLike many, I saw that live performance on Stephen Colbert and ran to add this album to my list. I’m not super familiar with Doechii’s music, aside from her pandemic-era hit “Yucky Blucky Fruitcake,” but from what I saw in her live performance — the creativity, the cadence of her delivery, the visual elements, and the choreography, it’s obvious a lot of care and attention to detail went into this project and I’m ecstatic to give this a listen.Two Star & The Dream Police — Mk.geeI’ve never claimed to be an early adopter, and I’m certainly not with this album. Released in February of 2024 and I didn’t discover it until December, I heard a lot of hype about this artist because I finally heard one of his songs on my TikTok, then I went back to watch his SNL performance. It’s notoriously difficult to sound good on SNL, but I thought he used the vocal effects to his advantage and his live playing sounded great, which again is a feat on live TV. Like Doechii, these careful considerations for a TV appearance tells me that this artist puts a lot of care and thought into his work, which makes me excited to hear more.Of course there’s lots more albums from this year that I’ll be giving a listen in the next few months, but these are just a few that I’m really jazzed about.Albums I reviewedI didn’t just listen to new releases this year, but also albums that are a few years old that I’ve somehow missed. Of the 29 albums I listened to so far, it was hard to narrow down a Top 5, so you’re getting five plus a couple more.Deeper Well (2024) / Golden Hour (2018) — Kacey MusgravesLike I said, big Kacey year for me and part of that was listening to these two albums for review. Asking me to pick between these two would be impossible, so they’re both tied for first. It’s my list, I make my own rules.The Rise and Fall of a Midwest Princess (2023) — Chappell RoanIf you haven’t fallen under the spell of Chappell Roan by now, I don’t know what to tell you. Congratulations, I guess, or I’m sorry, one of the two. But you need to fix that immediately. For those who have already succumbed, you understand.Romance (2024) — Fontaines D.C.This is the last album I listened to for the year before turning on my Christmas playlist full-time, but I do find myself wanting to go back to it, which is a good sign. If an album lingers with me after I’ve published my piece on it, that’s how I know I actually really liked it.Pang (2019) — Caroline PolachekOne of my earliest listens for this series, I’m still thinking about it all these months later. It really wowed me and I don’t say that lightly.What’s Wrong with New York? (2024) — The DareLike I said, it was hard to narrow down just five albums, but when I thought about albums that I spent a lot of time with this year, this was one of them. I actually moved around my predetermined schedule of albums to review just to fit this in because I wanted to listen to it and review it so badly. So while it may seem like an outlier to you, (I don’t know how you perceive my music taste, but I feel like this would be surprising to others to know I liked this), something about it really captured my attention this year.Honorable MentionsThese are albums that I really loved when I was listening to them, and really truly meant to come back to, but just life and other albums got in the way. But don’t take that as me having anything less than affection for these albums, because I do and hopefully we’ll meet again when the time is right. Albums have a way like that of finding me when I need them.In The End It Always Does (2023) — The Japanese HouseSeventeen Going Under (2021) — Sam FenderThe Loneliest Time (2022) — Carly Rae JepsenThe Good Witch (2023) — Maisie PetersWomen in Music Pt. III (2021) — HAIMCharm (2024) — ClairoThis year, I set about doing the thing, not thinking about doing it, not talking about doing it, but actually doing the thing I want to be doing. And even though it’s small (for now) it is fulfilling and sustaining me creatively in a way I so desperately need right now. So thank you to these artists for sharing their art and for giving me something to listen to and thank YOU for being here and reading and caring. It really does give me renewed hope for not just my own future, a sign that I’m doing the right thing, but also hope for the future of this industry, where there is a readership for art and cultural journalism. I can’t wait for this next year in music and in the meantime, I still have loads more albums to catch up on.And This Concludes the 2024 Season… was originally published in Rock n’ Heavy on Medium, where people are continuing the conversation by highlighting and responding to this story.

An album best heard LOUD

by Emma Christley on December 14, 2024

Review of Fontaines D.C.’s “Romance”Fontaines D.C. — RomanceReleased August 23, 2024I have heard nothing but amazing things about this band, but it wasn’t until their fourth studio release that I finally started checking them out. Their first album released in 2019 called Dogrel, so called after doggerel, a style of low-brow poetry similar to the limerick and thought to go back to Chaucer, and was also the style of poets William McGonagall and Ogden Nash. That album was named Album of the Year by Rough Trade and BBC Radio 6 Music, and was nominated for the Mercury Prize.Their second album, A Hero’s Death (2020) was nominated for a 2021 Grammy in the Best Rock Album category, and their third Skinty Fia (2022) gave the band their first number one album on the Irish and UK albums charts and won them their first Brit Award for International Group. Now with their fourth album, Romance, the band is moving away from their tried and true methods and embarking on new sounds, new themes, but still in keeping with the spirit of their previous releases.In many ways, this album is both a departure and a “rebirth” in their discography. Where their first three albums were largely focused on “pints, poetry, and working-class grit,” for this album, they decided to step away from their Irish-centric themes because it would have been “difficult to paint this vision of a dystopian and futuristic industrial landscape… but for it to sound like Ireland.” This album is centered around the soundtrack of a city of which lead singer and lyricist Grian Chattan knew “the colour and the year and the atmosphere and the temperature.” Although not about any particular city in the real world, the album was “very much informed by places we’ve been to and certain atmospheres at certain times. Like Tokyo at seven or six in the morning.”For drummer Tom Coll, they consider this their first-ever studio album as they moved away from their initial philosophy of “if we can’t play it live, let’s not do it,” instilled in them by producer Dan Carey. In another first, it’s their first album to not be produced by Carey, with whom they made their first three records, but by James Ford, who has produced or co-produced nearly all of the Arctic Monkeys records and produced for legacy acts Depeche Mode, Pet Shop Boys, and Kylie Minogue, as well as new kids on the block Declan McKenna, Foals, and The Last Dinner Party. Given Fontaines D.C.’s touring history with Arctic Monkeys, opening for them on their North American tour in 2023, and Chatten’s affinity for Blur, catching one of their gigs at Wembley Stadium, it makes sense that, when wanting to go in a new direction, they would seek out a producer who’s worked with artists they admire.My favorite songs are “Starburster,” “In The Modern World,” and “Bug.”“Starburster” was the song that first caught my attention from all the high praise it got when it was released as a single in April 2024. But when I listened to it, I didn’t get it the first time. I didn’t hear anything that made me go “wow” and I thought I was just missing out on what everyone else was hearing. It wasn’t until I was at a live show of fellow Irish band Inhaler and “Starburster” played over the loud house speakers in between the opening act and Inhaler hitting the stage. Hearing it loud, I finally got it and I could even see the potential for it to be a huge song live. I’ve seen videos of their live performances and it doesn’t have the same oomph or thrashing that I was envisioning, or that I think they could with this song in particular. They’re actually quite chill and calm in their live performances of the song, not at all what you would expect for a band that started out in the post-punk scene in Dublin. But in any case hearing it over the loudspeakers made me give the album a second listen and that’s when the rhythm and cadence of Chattan’s performance really scratched my brain. I particularly love the rhyme of “Challenger” and “Salinger” and “Salamander” in Chattan’s Dublin accent. I would have that second verse on loop if I could.Despite wide acclaim for the band and this album in particular, some fans noted that, for them, Fontaines D.C. is a singles band, and initially I was inclined to agree, but as sometimes happens when I’m doing these, going back through the album again and again, some songs win me over more with each listen than the first time I heard them. This is certainly true with this album. My initial knee-jerk reaction would have been to say “Starburster,” and “Bug” were the only two tracks I enjoyed, which I came into the album listening experience already enjoying from hearing them online, and the rest I could’ve gone with or without. But then upon second listen “In the Modern World,” and “Death Kink” caught my ear. Then “Sundowner.” Not all of them have really lodged in my brain the way those initial tracks did, but I greatly enjoy the album more overall now than I did at first listen.Although it wasn’t one of my favorites sonically, I was particularly moved by the explanation of “Horseness Is The Whatness,” about guitarist Carlos O’Connell’s feelings around the birth of his daughter in February 2023. The title comes from James Joyce’s Ulysses, which O’Connell was reading to his baby when he wrote the lyrics Chatten sings. Alongside the “lush strings” features the ultrasound heartbeat of O’Connell’s child. The lyrics, fitting into the album’s overarching theme of “apocalyptic existentialism” and “romance…a delusion worth surrendering to” as it “embraces the quest for meaning amid the whirlwind of new life.”When Fontaines D.C. were releasing their first album, they were heralded as an “intoxicating meld of post-punk nerviness and Joycean poetry,” or the heroes to save indie rock which had been declared dead, but this album takes inspiration from a wide range of sources. Each member brought with them their own influences like Chattan taking inspiration from Dylan Thomas and the Beat writer Jack Kerouac on the album’s lyrics. The album’s sound and instrumentation was inspired by individual band members finding particular influence in listening to Portishead, Deftones, Alice in Chains, Korn, which particularly inspired the rapping element of “Starburster,” and a grunge and hip-hop vibe brought over from drummer Tom Coll’s playing with fellow Irish group Kneecap. On the whole the album has “‘90s Brit Pop sensibilities,” Critics found that individual songs inspired comparisons to Lana Del Rey (“In the Modern World”), Kasabian (“Starburster”), Nirvana (“Death Kink”), and New Order (“Favourite”). The album also has non-musical influences from films like Sunset Boulevard, and Rumble Fish, the S.E. Hinton novel and Francis Ford Coppola film of the same name. The track “Motorcycle Boy” imagines Chattan in the role of the Motorcycle Boy, played in the film by Mickey Rourke, giving advice to his younger brother Rusty James, played by Matt Dillon, before he leaves town for California. Chattan thought about his younger brother and, as another reviewer put it, the song serves as both “a warning, but also an expression of love.”I’m always rooting for Irish acts, particularly ones that are as steeped in Irish history and culture as this band is. The band initially bonded over their love of poetry, particularly Irish poets Patrick Kavanagh, James Joyce, and W.B. Yeats. Before releasing music, the band released two poetry collections, one inspired by the Irish poets that first brought them together, and another inspired by the Beat poets. Their first albums tackle Irish themes like “lament[ing] Dublin’s cultural, architectural (and every other way) decline;…existential detachment from their homeland;…and reevaluat[ion of] the Irish diaspora through the prism of some ancient Hibernia.” In July 2020, they performed live from Kilmainham Gaol for television program Other Voices and that’s significant for Kilmainham’s symbology in Irish Republicanism. It’s where the leaders and followers of the 1916 Rising, fifteen in total, were held and later executed. U2 have also filmed in Kilmainham for their 1982 video “A Celebration.” Fontaines D.C. have also referenced Irish punk band The Pogues in their music video for 2018’s “Too Real”, which paid homaged to The Pogues’ video for “A Pair of Brown Eyes.” Although the band no longer resides in Ireland, with many of the band members relocating to London or other parts of Europe, they maintain their Irish identity.https://medium.com/media/b32bbf1470578b0695b5b239bd4382b3/hrefSitting beside the accolades of their previous albums, Romance has already been nominated for two Grammy Awards in the Best Rock Album category and Best Alternative Music Performance for “Starburster.” Should they win, I imagine this will be another huge win not just for the band themselves, but for Irish acts as a whole. For many, many years whenever Irish talent win awards or receive praise abroad, the press would be very quick to call them British and consider their achievements to be achievements of British talent. But with more and more Irish talent asserting their Irish identities on the international stage, like when Paul Mescal said it wasn’t on his list of priorities as an Irishman to meet King Charles III, I hope as we see the Irish continue to have international success, they are granted the dignity of having their own national identity recognized and aren’t just painted broadly as “British.”With each album, Fontaines D.C. have reached newer heights, and with this album, they might finally breakthrough on an international level. And even without having heard the other albums, reviewer for the Guardian Alexis Petridis noted that this album is “more straightforwardly approachable…but it doesn’t sacrifice any of the band’s potency,” adding that “thrillingly, it still carries the same grimy, careworn, aggressive qualities as their previous work.” I agree that this album is easily approachable, an excellent introduction to the band for anyone who, like me, has yet to really give the group a thorough listen. However, unlike with other artists I’ve reviewed, I feel like I’m still missing something by not having heard the band’s previous albums, like I’m walking into the middle of a conversation. I’m really interested to listen to all the albums previous, not just because it’ll give more context to this work, but also because I have a vested interest in Irish music and Irish art and Irish perspectives, particularly about Dublin. As much as I love Ireland and I can read about its history and practice the language on Duolingo all I like, it’ll never be the same as having been born there and coming from a generations-long lineage of people who have lived there, so to hear about Dublin and how it’s changed even in the last few decades, is really personally intriguing to me.

Emma Christley Writes

Trending

Top categories

RELATED ARTICLESMORE FROM AUTHOR

The Hyphen

Culture Study

Austin Kleon

Trending

Top categories

RELATED ARTICLES MORE FROM AUTHOR