Dublin indie rockers most experimental yet
Fontaines D.C., recently coming off widespread success and commercial acclaim from their previous 2022 album Skinty Fia, set forth to innovate the field of indie rock with the most inventive and sonically adventurous album yet. Previous album Skinty Fia’s bolstered new heights for this already widely successful post-punk Dublin group, reaching number one in the UK and Ireland and further set these indie rockers on a massive UK tour. Finally, their wide spread praise ended with Fontaines D.C. supporting the Arctic Monkeys on their riveting and explosive tour through North America. This ultimately led Fontaines D.C. to sign with a new record company, XL, a massive powerhouse production group hosting wonder hits like Radiohead and King Cruel, as well meeting legendary producer James Ford who recently worked with top tier artists like Arctic Monkeys and The Last Dinner Party.
Already, each member of Fontaines D.C. was bubbling with their own creative ideas and visions to express after Skinty Fia’s massive success: with lead vocalist Chatten spending time in L.A, lead guitarist O’ Connell becoming a new father and living in Castile – La Mancha in Spain, and finally bassist Deagen living in Paris. Together the group began writing and sleeping among the equipment for months, bringing forth a study of experimental riffs, flashy chord progressions, and the crystallization of their own respective experience. Fontaines D.C. broke free from any constraints musically, and reached maximum artistic integrity and freedom with their new released album Romance. From crank wave industrial guitar, to indie disco almost rap lyrical rhymes and danceable melodies, and finally Britpop influences of pure rock and roll, Romance weaves in master composition from cinematic elements and sounds, to riveting indie rock and garage band riffs, and finally lands on the poetic integrity of fantastic lyrics full of outlandish, but surprisingly perfect, metaphors and references. Romance bolsters forward what Fontaines D.C. can dream and accomplish, smashing the way to groundbreaking style with accomplishments and experience, bringing forward a new wave of sound and style to a pure indie rock and post-punk medium.
The first few tracks on the new album curtails the future experience of the album as a whole. From the ominous and flashy electronic backtrack of the first track entrancing the listener with sudden and distant sounds, this cinematic approach only leans the music into what feels like a score for a blockbuster experience. However, when the lead vocalist enters with the first lines “Into the darkness again,” the audience may wonder what “Romance” is about to unfold. This flashy portrait of dissonance and electronic crank wave leads the poetic slow lyrics of the first and second verse: “In with the pigs in the pen / God knows I love you / Screws in my Head / I will be Beside you.” This continues into the ending of second verse, a flashy replaying of “Romance is a place…” where the vocalists trail up and down in style. This only ends with a terse and sudden fade of electronic style to the crash of electronic drums, and an introduction to what can be said is an epitome of electronic and experimental style for indie rock, stealing from outside influences to make a whole new experience.
“Starburster,” the second track and maybe even part 2 to what feels like a cohesive tether between each song, enters with the same electronic groove and sudden high pitch tones in tamer style. From small angelic riffs on the piano to the background and moody languid vocals bursting forward a rock drum pattern. The “it may feel bad,” reverberating in the background leads to a full out dance punk and indie disco tune. The lyrics snapping sharp and fast, being forward with the vocalist’s Dublin punk speak style. In the background, the industrial guitar rings in riffs between the almost Hip-Hop style influence of verse, pulling forward an artistic integrity of layering. The chorus, “I’m Gon’ hit your business / if it’s momentary blissness” rings emphatically between the experimental gasps which are usually frowned upon in traditional vocalists’ mediums. The breaking of rules and style builds with the leather and robber mask aesthetic of the video cam music video, further diving into the expansion of the indie rock style. Its final riffs on guitar and drums keeps its core of post-punk rock revival, but adds its own extra spice that Fontaines D.C. can now only deliver. Between the rhythm changes and fast pace drum beats, conveying a full story of the second track, these beginning moments outline what the future experimental album holds.
Between all the moans and groans and electronic patches that bring forward a dedicated new and exciting piece, inside each core is a truly rock and indie soul. Third track “Here’s the Thing,” truly reaches its British indie sound, with Irish punk guitar riffs with the airy up and down vocals pulling a catchy rock and roll sound. Between the familiar drum track that leads a sound that many would know Fontaines D.C. for, it further expands its own sound with its hits on experimental modes, with unfamiliar riffs and chord progressions. While most other tracks share this hidden pattern of indie rock downstrokes, electronic riffs, and pure expression of post-punk, it is here in “Here’s the Thing,” the audience may see this style in its true form. None other in the track share its fast pace catchy mode, with the final riffs in and out in fast fashion, bringing forward a fun space for purist rockers to enjoy.
Track 4 leads in with a slow picking of guitar ringing pure in ears, with violin strings ringing long in backgrounds to mimic the languid vocal dissonance. Lead singer Chatten brings forward a new style and master of layering, having his pitch layered up and down seemingly among the chorus repeated words and title name of the track “Desire.” This seemingly rock ballad soon explodes with heavy guitar and industrial awesomeness absolutely hits whatever the audience may need in diverse equipment and mode. Inside the song, hitting its background talk style among the up and down of verse, flows astonishing imagery and poetic verse, truly giving space for the artistic writing and medium to shine. The Lyrics read “I see them driving into nothing where the nothing is sure / They drown their wishes in the fountain like their fathers before / And in the park the firefighters turned their bodies to glass / Some people seem to take their time when they pass.” This amazing writing and poetic verse can be seen further with songs like “Bug,” an influence of folk tunes of acoustic guitar with clear rock background describing a drug fueled relationship. The lyrics read: “In the charmless morning / I promise to be gone / I almost felt the feeling / That I wanted to, I wanted to, yeah/ You thought I was here / But I’m further than the sun, sun Ah/ Silent as the feeling/ That I’ve promised you, I promise you Yeah.”
Among the hardened topics of the tracks, from toxic relationships to drug fueled heartbreak, lies some of the more literary and artistic emotional references. “Motorcycle Boy,” holds the reference to Francis Ford Coppola’s Rumble Fish to portray lead vocalist’s connection to his younger brother. “Horseness is the Whatness,” references James Joyce’s Ulysses, describing the artist’s mental health and depression: “Will someone/ Find out what the word is/ That makes the world go round?/ ‘Cause I thought it was ‘love’/ But some say/ That it has to be ‘choice’/ I read it in some book / Or an old packet of smokes / And basics / I guess I get the gist / There’s not that much to miss: You choose or you exist.” Among these musical modes and inspiration is clear and undaunted exploration into other mediums, shaping the sound and building forth new wave of ideas and possibilities most bands have yet to explore.
Finally, the album holds dedication to rock as an art itself. “In the Modern World” deals with its spectrum of sophisticated art making with a clear opposite punk and sardonic outtakes. The sheer personality of the band and voice take hold, with the main guitar down strumming in favorite 90s’ and 2000s rock fashion. In a playful style and vocal sound that reminds listeners of anything from Smashing Pumpkins whispers and moans, to a pure Irish rock tone of spoken verse. The sudden backtrack of violin and surround sound leads the verses “I don’t feel anything in the Modern World” to an authentic post-punk edginess and integral moment. Such simple phrasing the audience may feel seen and maybe even overdone: however; with such placement and already established accent of musical expertise, such moments work to pinch together an authentic and relaxed moment cherished by the astonishing nostalgic personality of Fontaines D.C. Surely enough, “Death Kink,” an almost Nirvana mocking title, with a similar style of Rock and Roll ringing of guitar and chord progression, keeps the playful style of the song “Modern World.” The treatment of the chorus and the repetition of the word “Shit,” leads in poetically with the rock drum, sudden stops and pouring moments of rock guitar gorgeousness. Almost intentionally, the album holds together all that the audience may want from an indie rock group — from its exciting breaking grounds — to the nostalgic fun garage rock that headbangers are pleased to have.
Fontaines D.C. and Romance hits on all stellar ports needed and wanted: from true rock and roll, punk, British pop, to even experimental sounds and literature references. Behind the amazement of layering such integral details inside the album and each track, the cinematic elements of pure Rock and Roll bass lines and heavy guitar, lies an awesome and memorable album unlike any before. Fontaines D.C. continues to mesmerize and keep its audience alive and beating with its innovative and ongoing study of style, further pushing what was already a massive success to a new level. Among the rock hits and indie disco, any audience member and indie lover can find something to enjoy and hold dearly within this experimental and exciting new take. Hopefully, the audience can wish more from such a riveting and talented Dublin rock group.
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