Skinty Fia is one of those albums that grip you from the first listen. A Hero’s Death is sophisticated and a huge stepping stone. The debut Dogrel carries intensity and anger. And now, Fontaines D.C.’s fourth studio album Romance is all ours to explore.
The Dublin-formed group has proven that while they have signature sounds and vocals, they are always in a constant state of evolution. From post-punk notes to a softer indie rock cadence, they have tried it all. This record is the perfect summary of their career from 2019 until now: starting with an ominous yet theatrical title track, they end with the serene and happy-go-lucky ‘Favourite’. It is almost like a cycle that completes itself, as it begins with the words “Into the darkness again”, it comes to a close with the lovely “You were my favourite for a long time”.
The first track, characterised by these thunder-like guitar reverbs, seamlessly transitions into the experimental and, frankly, the strongest track on the record ‘Starbuster’. While the lead singer Grian Chatten almost raps throughout this track, a constant vocal wave in the background is reprised by the violent and punk-like drums and guitars. “I wanna take the truth without a lens on it, my God-given insanity, it depends on it”, he yells before the bridge, once again proving the band’s inclination for wordplay, poetry and societal critique.
While the third track ‘Here’s the Thing’ slightly falls off the ledge, with a structure that is too repetitive and jarring, Fontaines D.C. emerges triumphant with the string-ridden and ethereal ‘Desire’, which is also one of my absolute favourites on Romance. We can hear some of Skinty Fia in this track, with full and unapologetic guitar sounds and vocals, as Chatten softly sings in a higher key, especially during the chorus. Many things have changed from Dogrel to Romance, but I can’t say it’s been bad or ill-intended.
Talking about strings, the best track on the album is undoubtedly ‘In The Modern World’, which not only combines musical knowledge, inspired sounds and instrumentals but also some of the best vocal performances Chatten delivers on the whole record. It is hard to describe this song, it is full of angst and almost resignation, but deep down there is a glimpse of hope for better times, embodied by the enthralling guitar solo and whispered lyrics. This track is about helplessness, the lack of enthusiasm and empathy, and our souls becoming numb due to the outside world’s pressures, as Chatten confesses “I don’t feel anything, in the modern world, and I don’t feel bad.” In the end, though, there is a resolution that points to the relief that love carries, finding love for things or people will always be our only method of salvation: “Seem so hard just to be, if it matters, you complete me.”
The interesting fact about Romance is that it alternates between poignant tracks like the one above and more “filler” ones such as ‘Bug’. It sometimes risks damaging the attention span, as the listener is pushed from one extreme to the other without any real direction. On a more positive note, it also makes the listening experience slightly lighter and easier, since it provides variety and diversity. No track in this album is the same, which is always a positive.
Another lovely instance is ‘Motorcycle Boy’ which keeps me on the edge with its acoustic vibe and growing rhythm. A subtle political commentary, which rarely misses from any Fontaines D.C. song, can also be found in the background, especially when the lyrics explain that “no one wants a madness” and that a “sinner shows emotions” while the church bells ring. Alongside this song, ‘Sundowner’ is also a pleasant track, constituted mostly by reverberated Tame Impala-esque vocals and pounding drums. There is a sadness in Chatten’s lyrics, a newfound introspectivity which is not as angry as it was in Skinty Fia, but instead, it found a new, more collected dimension.
There is a massive difference between the next song, ‘Horseness is the Whatness’, and its successor ‘Death Kink’. While the former is soft, nostalgic and melancholic with its violins, plucked guitar strings and meaningful drums, the latter is hectic and chaotic, almost reminiscent of their punk days. Nevertheless, throughout the record, I appreciated greatly the use of violins as they add a sense of belonging and help romanticise the listening experience.
The tenth track ‘Death Kink’ is not the strongest on the album, even if it will be greatly appreciated in a live setting. It has a Nirvana aftertaste, between the insisting guitars and also the way the frontman morphs his vocals. However, once again, the transition between the tenth track and the last, the aforementioned ‘Favourite’, is abyssal and not very organic.
With the last track, though, Fontaines D.C. have established themselves as a staple of indie rock music. They seem to be able to do it all: punk, rock, experimental, indie and even grunge. The constant guitar repetition in the closing song cannot be described in any other way apart from sunny. It evokes a sense of peace and, after quite a “dark” and solitary album – which presents itself as obtuse and hard to grasp at times – there is finally light, gifting the listener the everlasting feeling that things are, in the end, going to be okay. Maybe.
Words by Silvia Pellegrino
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