The Irish band uses their moment in the spotlight to deliver exactly what was expected of them. And in that sense, it’s a thoroughly impressive job.
Is there anyone more commercially marketable right now than Fontaines DC? In the alternative music sphere, they’re a publicist’s wet dream; five broody, well dressed lads from Dublin who ooze aura, producing the sort of music which perfectly soundtracks the inescapable feeling of social decay which permeates the current climate. And in truth, the hype which surrounds them is fully justified, as they’ve barely put a foot wrong in the seven years since they announced themselves with their magnetic post-punk debut Dogrel.
What sets the quintet apart is that in spite of the fevered anticipation around them to keep delivering, they seem to do so in a way that never feels contrived. Whilst past torch-bearers may have crumbled under the pressure and delivered an undercooked or overproduced final product, Fontaines have risen to the challenge once more with a fifth album which adds a new dimension to their back catalogue, even if it’s somewhat measured in its audacity.
And make no mistake, the position they find themselves in is enviable, even if it comes with its own hazardous expectancy. It’s a curious moment in their career, as they navigate the complex route to becoming a stadium band without sacrificing the originality which gave them their razor sharp edge. Doing so is no mean feat, but the quintet do so by turning out an LP which feels like an evolution of the sound which they began to explore on their slightly lukewarm previous outing Romance. Stylistically they’ve discarded the track jackets and neon spiked hair in favour of a return to their more familiar alternative grungy look, something which is reflected in the music.
The overwhelming theme of Dopamine Chamber is a sort of diluted nihilism. They seem to be treading the same path as turn of the century Radiohead, manufacturing a gloom-ridden soundtrack to the fraught state of global affairs and social anxieties which makes them vastly relatable to the nervous introspective, of whom there’s plenty in their ever growing fanbase. But instead using their moment in the spotlight to animalistically tear down their own formula and deconstruct what Fontaines DC is, they choose the more measured (and sensible) option to evolve it into something which feels slightly new, albeit progressively linear.
Perhaps it is unreasonable to expect such a baffling upheaval, given that Dopamine Chamber is still an impressive work from a band at the height of their powers. But considering their name is being regularly touted in conversations as the most exciting band of their generation, one can’t help but wonder what might have been had they chosen to take a slightly more ambitious swing on their fifth outing. Of course doing so could have been their undoing, but given their adept capability as musicians then it seems within their creative grasp to completely subvert us all, and in doing so cement their position as a truly era defining group.
That said, there are curveballs here which would go far enough to dispel rumours that they’ve played it safe; any alt-rock purist will have had their tail between their legs when they heard that the unexpected (and intoxicating) duo with Spanish luminary Rosalia is anything but a radio-friendly pop ballad. It’s all held ever together by the ever brilliant Grian Chatten, who seems to get better and better with every album, both lyrically and in his unique delivery. Still, it’s truly illuminating to suggest that such an impressive album feels like it could have been better. Really, we should be nothing but grateful for Fontaines DC. The Friday headline slot of Glastonbury’s Other Stage beckons – you heard it here first.
