This brilliantly fast and urgent fifth album from Dublin band Delorentos explodes with big melodies and big ambitions. Read our review.
I'm a late comer to the charms of Dublin fourpiece Delorentos. For me, there was something dopily endearing about Rónan Yourell and Kieran McGuinness, who alternate lead vocals, and their seemingly non-specific songs of heartache and passion.
Musically, it seemed to me, there was a default setting of ever-spiralling euphoria on their songs and the ghosts of `indie landfill' and `firework band', and the dread death knell of Irish airplay quotas seemed to linger about their solid but unspectacular guitar rock pop.
But what a difference a break-up, a realignment, and a concentration of efforts and talents can make. On their fifth album, Delorentos burn with a renewed commitment, begin to flex new-found muscles and have composed a set of songs with a real sense of old-fashioned quality craft.
True, the opening salvo of Home Again and Show Me Love is faintly workaday but from Forget The Numbers on, Night Becomes Light is a strong, energetic and infectious collection with real substance and focus. Towering above it all is the spectral and celestial Everybody Else Gets Wet, which may start with clipped New Wavey propulsion but builds into a spine-tingling carnivalesque.
The brooding broken heart lament of Too Late also shows real ambition and development, and Valley Where The Rivers Run amps up the pure drama in a riverside tale of redemption which even quotes frothing media messiah Howard Beale from Network. Fits (Too Drunk to Drive) is an explosive tale of going mad in the country and the stadium-filling stonk and stomp of Forget The Numbers is a brilliant call to overthrow the yoke of conformity with some inspiring lyrics and a rippling and magnetic guitar part.
City's Still Warm, a star-struck summer waltz which opens with the gorgeous tear-duct bothering line, "It is July, it's 1am, and I am in love . . . ", is another contender for song of the album and Delorentos then have the courage to follow it right after with Six Months to The Day, a breakup song complete with lowing colliery brass and an utterly bereft vocal.
High on euphoria but nervy, taut and tensile, Delorentos have created a real sense of excitement and occasion with this back-from-the-brink killer album. Dogged self-belief has rarely sounded so wonderful or so inspiring. Considered me charmed.
Alan Corr
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