5 July 2023
Full interview with DIY magazine here.
2 July 2023
Press info: “Each song here has a sweep of colour and textures that breathe life into his lucid tales. Over its nine tracks, Chaos For The Fly is a record that takes in all of life’s rich emotions, transporting the listener to a place you not only want to visit, but will find yourself returning to again and again.”
The Guardian (British newspaper): “Chatten dials down the rollicking post-punk of
the Dublin band with a solo debut of haunted, Leonard Cohen-esque songs. ‘On Chaos
for the Fly’, Chatten’s manner sometimes recalls those great critics of human nature
Leonard Cohen and Elliott Smith.” Score: 4/5.
TUTV: As we already could here and there on Fontaines D.C. albums Chatten dims
the lights, and lets his both melancholic and unsettled heart do the talking/singing.
Here he does it from start to finish. He sings about all things life, good and bad here
on his solo debut. He’s a romantic and muses about what’s on his mind and soul. Candlelight music for tranquillising moments. Nothing more, nothing less.
Have sweet dreams.
Reveries for the laziest day of the week
4 June 2023
Singer-songwriter and charismatic frontman GRIAN CHATTEN
of Dublin heroes Fontaines D.C. has shared another – the third – track from
his upcoming solo debut album, named Chaos For The Fly. It lands on June 30.
Chatten: “The song a weak knee’d 99th lap around a hellscape town
of your own making. It’s haunted by seagulls and hoarse-throated slot
machines from the 1980s and it breaks its own promise on every listen.”
I have no idea what Chatten talks about (above), but I’m sure, for
a while now, that he’s a romantic at heart. Here’s another proof.
New striking strokes
6 May 2023
Chatten: “I wrote ‘Fairlies’ in intense heat. Partly in Jerez, Spain,
partly in LA a couple of days before a Fontaines D.C. tour kicked off.
It was a quick write, and I believe I celebrated each line with a beer.”
Fairlies is a catchy acoustic-guitar-driven pop song, beautifully
orchestrated and arranged with weeping violins, and Chatten‘s
by-now-familiar vocals upfront.