Undoubtedly the battle of indie vs. commercial comes with Fontaines D.C. The band has had its share of sudden fandom (from Peaky Blinders fame), but mostly from music festivals. Notorious as another band that sounds just as good live as their studio albums, fans clamour for new material with an undying thirst. We’re going straight for the jugular with the theme this time. This is their latest album, Dopamine Chamber.
The theme, at large
We all do know what this is right? The world is on the brink of collapse due to war, a plague of resources, AI, economic crash and many more. What we have instead are really funny memes, and like Fontaines D.C.’s term, they are well-designed dopamine chambers for our pleasure. It’s the only place to get the sensation it might seem, and musically, that’s the vacuum that is created. The vacuum is for the band as well; their previous album, Romance (2024) earned them 2 grammy nominations. Now you’re in the bubble of expectation. What have y’all got, neo Depeche Mode?
It begins with Six Shot Morning, a repetitive brew of synth work blending with drums to keep you caged. Grian Chatten is almost made for this; his voice has the tendency to contrast with the synth while having that smooth texture throughout this album. Don’t expect a rawer hit like Starburster, he is the voice of the algorithm here. The chorus is where you get to hear the fireworks, the release as you’d call it. Fontaines D.C. tailor then sound with the help of genius producer James Ford who seems to have nailed the kind of sound the band wants to create in this warp.
Leading with addiction
The next track is Marianne, a tale that might resonate with many, many of us. Released as a single earlier this year, it already became an incredible hit for the theme of being lightly veiled but hitting you in your face. The 60s Italian strings known from Joy Division, Depeche Mode and the entire New Wave genre universe stand out as immediate fingerprints. It follows in Mimesis, with standout synth work along with Chattens vocals becoming the hypnotic ribbon wrapping in a silken robe around.
Happy for You starts with some great reverb, with Carlos and Conor finding incredible chemistry to generate something with an innate, metronomic rhythm to it. See how I use the word ‘generate’ loosely here, it’s for the feeling. In this track, they sound like a live band suddenly, while Conor Deegan provides some smooth bass for that stepladder-like effect. Bridge sections and switches between sections have a swelling static and guitar wall that blends into verse like that high we’re all desperately chasing. A short song, it almost feeds to you like that travel reel you show yourself but becomes difficult to afford.
The hard hitters approach
Demolition comes in after, and it becomes my second favourite track in the album easily after Marianne. The rhythm the band exudes in this collection shows that their range can go from aggressive alt rock to dystopian punk and finally this new wave sleeve. After losing their tour manager Trevor Dietz earlier this year, they’re also on tour at several festivals – already showing fans sneak peeks of several tracks depending on location.
A song like Tongue might have been released almost to trick the audience. It doesn’t exactly sound like other tracks in the album but has the “chamber” feel that the band is trying to synthesise. An infinite loop, but of new information that is constantly morphed and tailored to steal your attention. As heartbreaking as it is to hear our realities not remain so, we’re at least getting to hear good art being made out of it.
Welcome to the chamber
Fontaines D.C. show us how releasing singles for a thematic album don’t work. To enter the dopamine chamber, you need to appreciate the architecture and the maze it constructs around you eventually. Listening to these songs randomly after Tom Misch or Samurai won’t harness this closed loop they’ve designed so well. One Man ties around into that same idea, I would have never liked it as a single, but becomes such a pivotal closing that bleeds into Where is Gone? ft. Rosalia.
Having this artist as their first-ever collaboration on a song fits for both the band and the powerful indie artist Rosalia. Closing this album are some of the strongest tracks thematically – strings on You Miss Me and layers otherwise are a dramatic climb like nothing else. When Japan and Intimate create a flurry at the end, it’s a message and coded lesson on what might be our end as well.
The melancholy you want to wrap yourself around comes with Intimate, another solid number where Chatten’s vocals sound close to hip-hop. As one would listen to Massive Attack, you’re wrapped in Fontaines D.C. not sounding like any previous version of themselves. Yet for us, they have launched themselves into the chamber to be closer to us:
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Self professed metalhead, moderately well read. If the music has soul, it's whole to me. The fact that my bio could have ended on a rhyme and doesn't should tell you a lot about my personality.
