Chords for Fontaines D.C. - Qobuz interview
Tempo:
90.8 bpm
Chords used:
E
F#
A
F#m
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E]
[F#m] Dublin in the rain is mine A pregnant city with a Catholic mind
Stacks [F#m] those sheets for the [F#] birdhouse jail
On [F#m] Mescaline when the past is stale, pale
Dublin in the rain is mine
Oh, he's my [F#] next-door neighbour.
Yeah, I live next door to him.
I've known him, I mean, I've known him pretty much since he was born,
I think, and I used to babysit him when I was in need of cash
when I was younger.
You used to babysit people?
I used to babysit
Two people that I was allowed to have under my responsibility.
I wouldn't trust any of those, yeah.
[E]
[A] On the radio, Zola [A] Bell, I roll the [E] face once a year
I think it's just coming back around, guitar music.
Like, people who are in the know want to do what's not in fashion.
You know, there's that classic saying of people selling their guitars
and getting turntables, people selling their turntables
and getting guitars.
Just kind of swings and roundabouts, and I feel like, at the moment,
I think, as we were talking about with the fall as well,
I think, for some reason, everything sounds like the fall now, you know?
Or, like, that's what the journalists will say.
If the fall had kind of, like, gone down, like, you know,
and been recognised for how good they were
and [Fm] potentially influential they were at that [F#] time,
which they weren't really, like, you know [N] what I mean?
You know the way people call them, like, the biggest band
that never made it big?
If they had made it big, you know, in that sense,
I don't know if the kind of, like, if they come back to it
would be as strong, you know what I mean?
But it's the fact that it took so long,
like, there's an element of it that was missed out
that's still being digested, and the digestion of that part of the fall
that people didn't understand is coming around and landing
at the same time as the actual, just, normal trend of it is coming back.
So it's a really, really strong comeback
at a particular kind of music, you know?
It's the stair rail.
[C] The winds are [Em] even settled down.
[C] The bruising beat up [Em] open skies, six o'clock.
The city in a quiet rain
Or, like, the element [B] of repetition
and it's sort of, like, being used in a not-pop way, you know what I mean?
Like, the element of repetition in the sense that you can just say something
that's, you know, that kind of, like, sounds superficially,
it sounds mundane or just insignificant,
and then [F#] if you keep repeating it, it begins to, like, lose its meaning
and then take on various other meanings.
And, I mean, when I say take on other meanings,
take on whatever meanings you, as a listener, want to project onto it.
It becomes more and more of a kind of, like, blank slate
for you, as a listener, to put your own ideas onto, you know what I mean?
Like, if you say a name over and over again,
if you say the name of, like, say the word lamp 100 times,
obviously it begins to lose its meaning and then maybe, you know,
the 60th time it [F] takes on another meaning and stuff like that.
But I think you start to put your own thoughts, your own memories
and maybe even your own subconscious onto the name lamp.
You know what I mean?
[B] [A]
The [E] way we work now and the kind of
The way we kind of mix our ideas is just inherently tied
to literature and poetry because, you know,
I think, like, the greatest influence that any musician can take
is from exterior forces, you know?
If you're only influenced by music, you're only going to get so far,
whereas if you bring in something that has nothing to do with music,
it's always going to add in
It's the best way to be authentic, you know, is to add in something
that's not, like, a musical influence.
Yeah, I think any external force, like, you know what I mean?
Like, poetry is just ours or literature is just ours,
but it could be anything.
It could be art, it could be Basquiat, you know?
It could be film or just conversation, I mean.
Or drugs, you know?
Any kind of external thing.
But I think, as well, the reason we feel it's important
to sort of, like, keep reading and stuff like that
is just to keep stimulating the creative part of your brain.
[A] [E] Yeah.
And you? [C] Yeah, definitely.
Ireland in general, I suppose.
Yeah, I think Ireland in general.
I don't know, like, I see the romanticism in Dublin,
like, every time I go back, but that's cos we don't spend
that much time there, you know?
Spend a weekend there, walk around, go for a picnic in Phoenix Park.
Like, the beauty is there, and, like, Dublin's disappearing
in a sense that, like, you know, it's kind of harder to find
harder to find a business that's been owned by the same people
for 30 years, you know?
It's just gentrification, whether that's
It's got the same sort of, like, facelessness happening to it
that [F#] anywhere that has, like, a kind of influx of money gets,
[E] you know what I mean?
We're talking [A] to the boys in the [E] bender lab.
The boys in the bender lab.
[A] [E] The boys in the bender lab.
[N] Yeah.
I think we've had a conversation similar to this before,
where Roy Keane was mentioned, but it's definitely not him,
cos
No, it's not Roy Keane.
..he'd
probably end up knocking us out.
Yeah.
Maybe get more placid, like, after a few points, but Yeah.
..I
highly doubt it, cos he's from Cork, isn't he?
Yeah, that's true.
I'm tempted to say Yates, but I think my heart is going Ronnie Drew.
Ronnie Drew, yeah.
I'd probably rather be mates with Yates.
I'd rather be mates with Yates,
but I don't think he'd go crack, like, for a few points.
Ronnie Drew was built and put on this earth to have points with. Yeah, yeah.
No doubt about it.
Can you imagine those beautiful blue eyes looking up at you
and asking you to buy them another round?
Yeah, yeah.
I could just [F#m] say, no.
[F#] [F#m] [F#]
[F#m] Dublin in the rain is mine A pregnant city with a Catholic mind
Stacks [F#m] those sheets for the [F#] birdhouse jail
On [F#m] Mescaline when the past is stale, pale
Dublin in the rain is mine
Oh, he's my [F#] next-door neighbour.
Yeah, I live next door to him.
I've known him, I mean, I've known him pretty much since he was born,
I think, and I used to babysit him when I was in need of cash
when I was younger.
You used to babysit people?
I used to babysit
Two people that I was allowed to have under my responsibility.
I wouldn't trust any of those, yeah.
[E]
[A] On the radio, Zola [A] Bell, I roll the [E] face once a year
I think it's just coming back around, guitar music.
Like, people who are in the know want to do what's not in fashion.
You know, there's that classic saying of people selling their guitars
and getting turntables, people selling their turntables
and getting guitars.
Just kind of swings and roundabouts, and I feel like, at the moment,
I think, as we were talking about with the fall as well,
I think, for some reason, everything sounds like the fall now, you know?
Or, like, that's what the journalists will say.
If the fall had kind of, like, gone down, like, you know,
and been recognised for how good they were
and [Fm] potentially influential they were at that [F#] time,
which they weren't really, like, you know [N] what I mean?
You know the way people call them, like, the biggest band
that never made it big?
If they had made it big, you know, in that sense,
I don't know if the kind of, like, if they come back to it
would be as strong, you know what I mean?
But it's the fact that it took so long,
like, there's an element of it that was missed out
that's still being digested, and the digestion of that part of the fall
that people didn't understand is coming around and landing
at the same time as the actual, just, normal trend of it is coming back.
So it's a really, really strong comeback
at a particular kind of music, you know?
It's the stair rail.
[C] The winds are [Em] even settled down.
[C] The bruising beat up [Em] open skies, six o'clock.
The city in a quiet rain
Or, like, the element [B] of repetition
and it's sort of, like, being used in a not-pop way, you know what I mean?
Like, the element of repetition in the sense that you can just say something
that's, you know, that kind of, like, sounds superficially,
it sounds mundane or just insignificant,
and then [F#] if you keep repeating it, it begins to, like, lose its meaning
and then take on various other meanings.
And, I mean, when I say take on other meanings,
take on whatever meanings you, as a listener, want to project onto it.
It becomes more and more of a kind of, like, blank slate
for you, as a listener, to put your own ideas onto, you know what I mean?
Like, if you say a name over and over again,
if you say the name of, like, say the word lamp 100 times,
obviously it begins to lose its meaning and then maybe, you know,
the 60th time it [F] takes on another meaning and stuff like that.
But I think you start to put your own thoughts, your own memories
and maybe even your own subconscious onto the name lamp.
You know what I mean?
[B] [A]
The [E] way we work now and the kind of
The way we kind of mix our ideas is just inherently tied
to literature and poetry because, you know,
I think, like, the greatest influence that any musician can take
is from exterior forces, you know?
If you're only influenced by music, you're only going to get so far,
whereas if you bring in something that has nothing to do with music,
it's always going to add in
It's the best way to be authentic, you know, is to add in something
that's not, like, a musical influence.
Yeah, I think any external force, like, you know what I mean?
Like, poetry is just ours or literature is just ours,
but it could be anything.
It could be art, it could be Basquiat, you know?
It could be film or just conversation, I mean.
Or drugs, you know?
Any kind of external thing.
But I think, as well, the reason we feel it's important
to sort of, like, keep reading and stuff like that
is just to keep stimulating the creative part of your brain.
[A] [E] Yeah.
And you? [C] Yeah, definitely.
Ireland in general, I suppose.
Yeah, I think Ireland in general.
I don't know, like, I see the romanticism in Dublin,
like, every time I go back, but that's cos we don't spend
that much time there, you know?
Spend a weekend there, walk around, go for a picnic in Phoenix Park.
Like, the beauty is there, and, like, Dublin's disappearing
in a sense that, like, you know, it's kind of harder to find
harder to find a business that's been owned by the same people
for 30 years, you know?
It's just gentrification, whether that's
It's got the same sort of, like, facelessness happening to it
that [F#] anywhere that has, like, a kind of influx of money gets,
[E] you know what I mean?
We're talking [A] to the boys in the [E] bender lab.
The boys in the bender lab.
[A] [E] The boys in the bender lab.
[N] Yeah.
I think we've had a conversation similar to this before,
where Roy Keane was mentioned, but it's definitely not him,
cos
No, it's not Roy Keane.
..he'd
probably end up knocking us out.
Yeah.
Maybe get more placid, like, after a few points, but Yeah.
..I
highly doubt it, cos he's from Cork, isn't he?
Yeah, that's true.
I'm tempted to say Yates, but I think my heart is going Ronnie Drew.
Ronnie Drew, yeah.
I'd probably rather be mates with Yates.
I'd rather be mates with Yates,
but I don't think he'd go crack, like, for a few points.
Ronnie Drew was built and put on this earth to have points with. Yeah, yeah.
No doubt about it.
Can you imagine those beautiful blue eyes looking up at you
and asking you to buy them another round?
Yeah, yeah.
I could just [F#m] say, no.
[F#] [F#m] [F#]
Key:
E
F#
A
F#m
C
E
F#
A
_ _ _ _ _ _ [E] _ _
[F#m] _ _ _ Dublin in the rain is mine A pregnant city with a Catholic mind
Stacks [F#m] those sheets for the [F#] birdhouse jail
On [F#m] Mescaline when the past is stale, pale
Dublin in the rain is mine_
Oh, he's my [F#] next-door neighbour.
Yeah, I live next door to him.
I've known him, I mean, I've known him pretty much since he was born,
I think, and I used to babysit him when I was in need of cash
when I was younger.
You used to babysit people?
I used to babysit_
Two people that I was allowed to have under my responsibility.
I wouldn't trust any of those, yeah.
[E] _ _ _
[A] On the radio, Zola [A] Bell, I roll the [E] face once a year_
I think it's just coming back around, guitar music.
Like, people who are in the know want to do what's not in fashion.
You know, there's that classic saying of people selling their guitars
and getting turntables, people selling their turntables
and getting guitars.
Just kind of swings and roundabouts, and I feel like, at the moment,
I think, as we were talking about with the fall as well,
I think, for some reason, everything sounds like the fall now, you know?
Or, like, that's what the journalists will say.
If the fall had kind of, like, gone down, like, you know,
_ and been recognised for how good they were
and [Fm] potentially influential they were at that [F#] time,
which they weren't really, like, you know [N] what I mean?
You know the way people call them, like, the biggest band
that never made it big?
If they had made it big, you know, in that sense,
I don't know if the kind of, like, if they come back to it
would be as strong, you know what I mean?
But it's the fact that it took so long,
like, there's an element of it that was missed out
that's still being digested, and the digestion of that part of the fall
that people didn't understand is coming around and landing
at the same time as the actual, just, normal trend of it is coming back.
So it's a really, really strong comeback
at a particular kind of music, you know?
It's the stair rail.
[C] The winds are [Em] even settled down.
[C] The bruising beat up [Em] open skies, six o'clock.
The city in a quiet rain_
Or, like, the element [B] of repetition
and it's sort of, like, being used in a not-pop way, you know what I mean?
Like, the element of repetition in the sense that you can just say something
that's, you know, that kind of, like, sounds superficially,
it sounds mundane or just insignificant,
and then [F#] if you keep repeating it, it begins to, like, lose its meaning
and then take on various other meanings.
And, I mean, when I say take on other meanings,
take on whatever meanings you, as a listener, want to project onto it.
It becomes more and more of a kind of, like, blank slate
for you, as a listener, to put your own ideas onto, you know what I mean?
Like, if you say a name over and over again,
if you say the name of, like, say the word lamp 100 times,
obviously it begins to lose its meaning and then maybe, you know,
the 60th time it [F] takes on another meaning and stuff like that.
But I think you start to put your own thoughts, your own memories
and maybe even your own subconscious onto the name lamp.
You know what I mean?
_ [B] _ _ [A] _ _
_ _ _ _ The [E] way we work now and the kind of_
The way we kind of mix our ideas is just inherently tied
to literature and poetry because, you know,
I think, like, the greatest influence that any musician can take
is from exterior forces, you know?
If you're only influenced by music, you're only going to get so far,
whereas if you bring in something that has nothing to do with music,
it's always going to add in_
It's the best way to be authentic, you know, is to add in something
that's not, like, a musical influence.
Yeah, I think any external force, like, you know what I mean?
Like, poetry is just ours or literature is just ours,
but it could be anything.
It could be art, it could be Basquiat, you know?
It could be film or just conversation, I mean.
Or drugs, you know?
Any kind of external thing.
But I think, as well, _ the reason we feel it's important
to sort of, like, keep reading and stuff like that
is just to keep stimulating the creative part of your brain. _ _
_ _ _ _ [A] _ _ [E] Yeah.
And you? [C] Yeah, definitely.
Ireland in general, I suppose.
Yeah, I think Ireland in general.
I don't know, like, I see the romanticism in Dublin,
like, every time I go back, but that's cos we don't spend
that much time there, you know?
Spend a weekend there, walk around, go for a picnic in Phoenix Park.
_ Like, the beauty is there, and, like, Dublin's disappearing
in a sense that, like, you know, it's kind of harder to find_
harder to find a business that's been owned by the same people
for 30 years, you know?
It's just gentrification, whether that's_ _
It's got the same sort of, like, _ facelessness happening to it
that [F#] anywhere that has, like, a kind of influx of money gets,
[E] you know what I mean?
We're talking [A] to the boys in the [E] bender lab.
_ The boys in the bender lab. _
_ [A] _ _ [E] _ The boys in the bender lab.
[N] Yeah.
I think we've had a conversation similar to this before,
where Roy Keane was mentioned, but it's definitely not him,
cos_
No, it's not Roy Keane.
..he'd
probably end up knocking us out.
Yeah.
Maybe get more placid, like, after a few points, but_ Yeah.
..I
highly doubt it, cos he's from Cork, isn't he?
Yeah, that's true.
I'm tempted to say Yates, but I think my heart is going Ronnie Drew.
Ronnie Drew, yeah.
I'd probably rather be mates with Yates.
_ I'd rather be mates with Yates,
but I don't think he'd go crack, like, for a few points.
Ronnie Drew was built and put on this earth to have points with. Yeah, yeah.
No doubt about it.
Can you imagine those beautiful blue eyes looking up at you
and asking you to buy them another round?
Yeah, yeah.
I could just [F#m] say, no.
_ _ [F#] _ _ _ _ _ [F#m] _ _ _ [F#] _ _ _ _
[F#m] _ _ _ Dublin in the rain is mine A pregnant city with a Catholic mind
Stacks [F#m] those sheets for the [F#] birdhouse jail
On [F#m] Mescaline when the past is stale, pale
Dublin in the rain is mine_
Oh, he's my [F#] next-door neighbour.
Yeah, I live next door to him.
I've known him, I mean, I've known him pretty much since he was born,
I think, and I used to babysit him when I was in need of cash
when I was younger.
You used to babysit people?
I used to babysit_
Two people that I was allowed to have under my responsibility.
I wouldn't trust any of those, yeah.
[E] _ _ _
[A] On the radio, Zola [A] Bell, I roll the [E] face once a year_
I think it's just coming back around, guitar music.
Like, people who are in the know want to do what's not in fashion.
You know, there's that classic saying of people selling their guitars
and getting turntables, people selling their turntables
and getting guitars.
Just kind of swings and roundabouts, and I feel like, at the moment,
I think, as we were talking about with the fall as well,
I think, for some reason, everything sounds like the fall now, you know?
Or, like, that's what the journalists will say.
If the fall had kind of, like, gone down, like, you know,
_ and been recognised for how good they were
and [Fm] potentially influential they were at that [F#] time,
which they weren't really, like, you know [N] what I mean?
You know the way people call them, like, the biggest band
that never made it big?
If they had made it big, you know, in that sense,
I don't know if the kind of, like, if they come back to it
would be as strong, you know what I mean?
But it's the fact that it took so long,
like, there's an element of it that was missed out
that's still being digested, and the digestion of that part of the fall
that people didn't understand is coming around and landing
at the same time as the actual, just, normal trend of it is coming back.
So it's a really, really strong comeback
at a particular kind of music, you know?
It's the stair rail.
[C] The winds are [Em] even settled down.
[C] The bruising beat up [Em] open skies, six o'clock.
The city in a quiet rain_
Or, like, the element [B] of repetition
and it's sort of, like, being used in a not-pop way, you know what I mean?
Like, the element of repetition in the sense that you can just say something
that's, you know, that kind of, like, sounds superficially,
it sounds mundane or just insignificant,
and then [F#] if you keep repeating it, it begins to, like, lose its meaning
and then take on various other meanings.
And, I mean, when I say take on other meanings,
take on whatever meanings you, as a listener, want to project onto it.
It becomes more and more of a kind of, like, blank slate
for you, as a listener, to put your own ideas onto, you know what I mean?
Like, if you say a name over and over again,
if you say the name of, like, say the word lamp 100 times,
obviously it begins to lose its meaning and then maybe, you know,
the 60th time it [F] takes on another meaning and stuff like that.
But I think you start to put your own thoughts, your own memories
and maybe even your own subconscious onto the name lamp.
You know what I mean?
_ [B] _ _ [A] _ _
_ _ _ _ The [E] way we work now and the kind of_
The way we kind of mix our ideas is just inherently tied
to literature and poetry because, you know,
I think, like, the greatest influence that any musician can take
is from exterior forces, you know?
If you're only influenced by music, you're only going to get so far,
whereas if you bring in something that has nothing to do with music,
it's always going to add in_
It's the best way to be authentic, you know, is to add in something
that's not, like, a musical influence.
Yeah, I think any external force, like, you know what I mean?
Like, poetry is just ours or literature is just ours,
but it could be anything.
It could be art, it could be Basquiat, you know?
It could be film or just conversation, I mean.
Or drugs, you know?
Any kind of external thing.
But I think, as well, _ the reason we feel it's important
to sort of, like, keep reading and stuff like that
is just to keep stimulating the creative part of your brain. _ _
_ _ _ _ [A] _ _ [E] Yeah.
And you? [C] Yeah, definitely.
Ireland in general, I suppose.
Yeah, I think Ireland in general.
I don't know, like, I see the romanticism in Dublin,
like, every time I go back, but that's cos we don't spend
that much time there, you know?
Spend a weekend there, walk around, go for a picnic in Phoenix Park.
_ Like, the beauty is there, and, like, Dublin's disappearing
in a sense that, like, you know, it's kind of harder to find_
harder to find a business that's been owned by the same people
for 30 years, you know?
It's just gentrification, whether that's_ _
It's got the same sort of, like, _ facelessness happening to it
that [F#] anywhere that has, like, a kind of influx of money gets,
[E] you know what I mean?
We're talking [A] to the boys in the [E] bender lab.
_ The boys in the bender lab. _
_ [A] _ _ [E] _ The boys in the bender lab.
[N] Yeah.
I think we've had a conversation similar to this before,
where Roy Keane was mentioned, but it's definitely not him,
cos_
No, it's not Roy Keane.
..he'd
probably end up knocking us out.
Yeah.
Maybe get more placid, like, after a few points, but_ Yeah.
..I
highly doubt it, cos he's from Cork, isn't he?
Yeah, that's true.
I'm tempted to say Yates, but I think my heart is going Ronnie Drew.
Ronnie Drew, yeah.
I'd probably rather be mates with Yates.
_ I'd rather be mates with Yates,
but I don't think he'd go crack, like, for a few points.
Ronnie Drew was built and put on this earth to have points with. Yeah, yeah.
No doubt about it.
Can you imagine those beautiful blue eyes looking up at you
and asking you to buy them another round?
Yeah, yeah.
I could just [F#m] say, no.
_ _ [F#] _ _ _ _ _ [F#m] _ _ _ [F#] _ _ _ _