Dogrel
by Fontaines D.C.
  • Record Label: PTKF
  • Release Date: Apr 12, 2019
Metascore
86

Universal acclaim - based on 17 Critic Reviews

Critic score distribution:
  1. Positive: 16 out of 17
  2. Mixed: 1 out of 17
  3. Negative: 0 out of 17
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  1. Uncut
    Apr 8, 2019
    60
    Musically, it's not exactly mould-shattering, a blend of surf and chirpy indie rock. They're at their most effective when they deliberately fray the edges. [May 2019, p.29]
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Awards & Rankings

28
#28 Best Album of 2019
24
#24 Most Shared Album of 2019

User Reviews

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User Score
8.2

Universal acclaim- based on 77 Ratings

User score distribution:
  1. Positive: 70 out of 77
  2. Mixed: 3 out of 77
  3. Negative: 4 out of 77
  1. Marcbackman
    Apr 12, 2019
    9
    Having lived in Dublin for a few years, I can say with confidence that this album from Fontaines DC effortlessly exudes the gritty underdogHaving lived in Dublin for a few years, I can say with confidence that this album from Fontaines DC effortlessly exudes the gritty underdog vibe of the city to a tee. With lines like "And the radio is all about a runaway model with a face like sin and a heart like a James Joyce novel", the album feels similar to Joyce's Dubliners/Ulysses as a piece of art that directly channels the energy of a place and transmutes it into a new form. The band aren't doing anything particularly "new" with their post-punk sound—it's a standard guitar driven style with conversational lyrical delivery ala The Fall—yet the Irish accented vocals and pure narrative that is delivered with gusto about the city itself send this album into fresh new territory. The greyness, the rain, the catholic past that a new generation of Irish are trying to wash off their skin, and small childhoods with big futures—it's all here and it's a joy to hear Dublin personified like this.… Full Review »
  2. Ricko
    Aug 14, 2019
    9
    While Fontaines DC are a breath of fresh air in the Irish mainstream music scene, it must be said that we have seen this before. Noone seemsWhile Fontaines DC are a breath of fresh air in the Irish mainstream music scene, it must be said that we have seen this before. Noone seems to be mentioning the great Whipping Boy of the 90's as the precursors to these lads. Fontaines are bit more punk than rock but cant believe the similarities are being highlighted more. Another band that comes to mind are Cork punks (again of the 90's) Sultans of Ping. Regardless, these lads are the real deal and you know they must be good when every other band in Ireland hates their guts. The amount of vitriol directed in these lads direction from the general Irish scene is usually saved for Bono an his buds. To the album itself and the music, yes, believe the hype, its really good. The Dubilin (sic) accent might grate for some after awhile but its what makes the album stand out so much and is the perfect foil of the excellent, brooding post punk music that accompanies it. The songs are very strong and incredibly mature for a debut album. This is a tip of the hat as much to Shane Macgowan as it is to the likes of Sex Pistols and Joy Division. The common thread is a rallying against what is expected. One of the most memorable albums of 2019 and I look forward to seeing what these guys do next. They could go anywhere with their sound and their potential is immense.… Full Review »
  3. Bmccormick40
    May 6, 2019
    4
    Not outright bad, and that's a problem. I would have preferred bad to simply boring. Dogrel is an album that, at best, offers a glimmer ofNot outright bad, and that's a problem. I would have preferred bad to simply boring. Dogrel is an album that, at best, offers a glimmer of something better, bigger, maybe original, but can't quite stumble its way out of the dark. It feels frustratingly limited, in every sense of the word.

    Fontaines DC make general stabs in several directions, and at least they ape some good bands while doing so. Roy's Tune sounds like the most insipid song The Smiths never got around to making fronted by Parquet Court's Andrew Savage at his most ambivalent and deadpan. Hurricane Laughter seems to slouch in the direction of Viagra Boys or Protomartyr, but lacks the clever sneer of the former and the resigned anger of the latter. The song gets stuck in a four-note sequence from which it can't escape; all bones and no meat.

    Even Too Real, perhaps the most likeable tune here, wrings dissonance, impotent guitar theatrics, and non-key vocals for all they're worth, effectively turning what could have been original elements into more pastels in the band's arsenal full of them. When you realize singer Grian Chatten is asking over and over, "Is it too real for yaaa?" it makes you want to respond in the affirmative, and plead with him to get some imagination.

    It doesn't help that Chatten closely toes the line of insouciant indie rock cliche: Is he a singer who just isn't bothered by the way the syllables are coming out of his mouth or is it a case of no **** given as shorthand for "cool?" It disappoints me to have to pose that question.    … Full Review »
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