Album Review: Trust The Wire by The Coronas is out now

You have to hand it to The Coronas: they’ve had 10 years of exponentially expanding success, with not even the faintest hint of waning popularity (as attested to by this summer’s sell-out gigs at Kilmainham and at Cork’s Marquee). But the fact that they’ve achieved this level of sustained adulation in a genre that is notoriously fickle and fashion-conscious is even more surprising. Let’s face it – melodic guitar pop can be a disposable commodity. But not here.
The Coronas’ fifth album – written in an isolated cottage in Dingle last summer – will surely consolidate the south Dubliners’ fortunes, although it marks a subtle but definite shift in emphasis towards a more contemplative sound. With producer Eliot James (Two Door Cinema Club) at the helm, there are more electronic flourishes, impressionistic textures and dance-based rhythms than before – though it’s all done quite sparingly.
In the end, the tunes speak for themselves, with the beats and guitars that blend on current single ‘We Couldn’t Fake It’ – a mid-tempo affair buoyed by a soaring chorus – exploring familiar Coronas’ territory. Things get a lot more atmospheric and ethereal on ‘A Bit Withdrawn’, while chiming guitars and a jerky rhythm underpin ‘Real Feel’. Indeed, the slow-burners come thick and fast: the anthemic, U2-like ‘Who We Are’ is guaranteed to have audiences swooning over the summer, with the strings adding real emotional depth.
‘Give Me A Minute’ – prompted by an after-show bout of self-doubt on the part of O’Reilly (“This thing could get the better of you if you let it…”) – showcases an honesty and fragility, while the heart-stopper ‘Like It Used To Be’ is another standout – and a sure-fire crowd-pleaser to boot. Elsewhere, the funky bassline and soulful groove they settle into on ‘Have No Age’ could almost be mistaken for Hall & Oates in their ’80s heyday. They wrap up proceedings up with the smouldering rocker ‘Look At All The Lovers’ – a fine ending to another highly impressive effort.

Out now //Colm O'Hare