Album Review: Fontaines D.C.’s ‘Dopamine Chamber’
Dublin-formed quintet, Fontaines D.C., dropped their fifth album ‘Dopamine Chamber’ last week.
The release is certainly a more adventurous avenue for the band, its darker, eerie and surveys a raw reflection of the feelings of uncertainty very much evident in society today.
The vocal performance on this 11-track album by frontman, Grian Chatten, is a definite standout, it simultaneously feels intimate and discomforting. With a definite likeness to The Cure’s ‘Disintegration’ album, it is safe to say the band have trialled a new sound.
Opening track ‘Six Shot Morning’ is a belter of an opener to this new era from the Irish group. It explores the lines between the real and the superficial nature of social media being merged. There is a definite Depeche Mode feel, as illustrated within the electronic synthesiser build up. The closing bridge of contrasting ‘motion filming’ and ‘motion film’ depicts the inability to distinguish the real world from that displayed on our screens.
For fans of their 2024 hit ‘In The Modern World’, the similar raspy voice of ‘Charlene’ is still going strong in this album with the ‘always’ diction during this first track.
‘You and I living for a million years, always’ - Six Shot Morning
‘Marianne’ was the first single to kick start this album rollout, and has left many to ponder if the name choice was linked to the popular novel and show - Normal People, also filmed in Dublin.
The yearning that frontman Grian Chatten writes so well is present in this track - ‘My dreams are made from you’. Exploring the fogginess of depression, and how all-consuming it can make you feel. The instrumentals paired with the more sinister lyricism of ‘one way sleep’ and ‘under the knife’ make you second guess the initial romantic proposal of it all.
The bells coupled with the heavy drum percussion make this single a real ear-worm of a tune.
The accompanying music video for the track faced backlash for the usage of AI in post-production, of which the band nor management was not made aware of until after its release. When discussing its controversy with the LA Times, Grian said: “AI is literally rendering our souls obsolete and I think that is true death”, and stated it will be written into contracts that there will be no AI usage in any further projects.
A common theme weaved throughout this album is this ‘cinematic feeling’ placed in the tracks, whether through an overt reference, or in its production style.
‘Mimesis’ is very 80s styled in its catchy delivery, and will undoubtedly be a hit at the arena tour. It has a real heavy drum opener and is infused with a synthesiser - all the ingredients to a pop masterpiece.
It is a track of devotion, surrendering entirely to someone for life - ‘I’m submitting to the final frame’ and ‘Everybody's depressed, we’re running on a wheel, I'm here to fight your corner, my heart is open’.
Whilst being so undeniably desirous at its core, it tells a story of the protagonist going to save someone, but realising they are actually the one that needs saving.
‘If you're a star shine on me, if you're not, let me be’ - Mimesis
Again, with apparent Depeche Mode inspirations, the gaspy tones of ‘surely’, and a luscious bass line to close out makes this a polished hit.
‘Happy For You’ is a song of juxtaposing imagery, signifying the start and end of relationships. It takes the listener from ‘The centre of my world you are’ to ‘If you go, I won’t run after you’ in a matter of lines.
The song is definitely a track that can be interpreted in different circumstances. The band notably mentioned how it can now take up a more grievous meaning, in light of the loss of their late manager - Trevor Dietz. Heavier tones on the track explore the retrospective emotions that come with death - ‘If you had a problem, I’d wish you’d just tell me’.
Alternatively, it could be perceived quite literally as a point of swearing you are happy for someone, with the opposing basslines signifying a jealousy at people's ability to move on. The longing to be there for someone, but they are ‘running away’, and their avoidance causes a deep emotional turmoil as ‘Of all of the people I want you to know me’.
‘Demolition’ is a belter, and as the title explains is a depiction of old love from the past tense. It’s a letter to someone that is never sent. Like a never-ending treadmill in its delivery and line rhymes, it reminisces on a relationship and still repents for a return - ‘Had the prettiest day, if you want me I’ll stay, we can make it okay, live forever this way’. The chorus highlights the denial of a break up, knowing the flaws of the dynamic and still pleading for them to return - ‘My soul's so sick with the need for yours’.
Released as a single, ‘Tongue’ is a more experimental move for the alternative band, like with ‘Starburster’ off their last album ‘Romance’ (2024). There is a Kendrick Lamar ‘Humble’ feel to the backing drum beat, which is paired with an unsettling keys composition. It shows the control a powerhouse person can have, it recognises awareness of the verbal mistreatment - ‘Tongue to take apart your life’ - but calling back repetitively.
‘One Man’ is a track of self-realisation turning into a lack of accountability. It begins with an apologetic notion of failing someone, and the remorse that comes with that. Missing someone and longing for them, even if it's just the ideal of them. Though the sadness that comes with this meets the stubbornness in not changing for anyone - ‘I’m only one man’.
It is a slower ballad transition from the earlier tracks, with its violin and cello undertones and a bonus tambourine!
The album's title - ‘Dopamine Chamber’ is mentioned in this track. Chatten discussed how the title can be ‘unconsensual happiness’, and how joy can be used as a coping mechanism to compartmentalise, and deal with life.
The album also sees the first feature from the band, with none other than Rosalía on track ‘Where Is Gone?’. In continuing with the filmic concept of this release, this song feels like it has been pulled straight from a Bond movie. The ballad illustrates a chilling comparative configuration between the pair, especially with the angelic falsetto notes from Rosalía - the careless vs care less. Nostalgic of a relationship now gone - ‘No way I’m going back to how I feel’ and it states how the hurt is what makes them feel most alive.
‘You Miss Me’ has an uneasy screeching backing in the verses, before falling into a familiar vocally sound chorus. It portrays a cockiness in feeling like someone's medicator - ‘your smile comes out of my pocket’ amongst an array of difficult thoughts to navigate. Then, like with much of the hurt analogies with this album, it emphasises the downplay of emotions - ‘I missed you I guess’, hinting that in fact they need each other’s presence.
‘If I was ever unhappy, it was not with you my love’ - You Miss Me
Genre wise, this album demonstrates a definite shift from the guitar heavy previous releases at the start of their career, such as Skinty Fia (2022), or Dogrel (2019). Grian Chatten discussed how he wanted it to feel more of an advanced version of their previous album - ‘Romance’ (2024).
Whether it is because we know the group for their standout guitar compositions, the tracks ‘Japan’ and ‘Demolition’ felt like album standouts on first listen.
Speaking of track ‘Japan’, it follows a narrator storytelling a relationship where the girl is disassociating, as they are stuck in a monotonous cycle with a partner who doesn’t serve them. It follows the naive belief that because ‘she sees into his heart’, she should stay incase he appreciates her. Mirroring the listener's reactions, the refrain features ‘Why’d you go and make it real?’ which is ambiguous in its connotations, but by ending with ’Why’d you go?’ - could resonate with the notion of seeing someone lose themselves due to a draining relationship. The song would not sound out of place on the Alex Turner soundtrack for film - Submarine (2010).
The final track ‘Intimate’ wraps up the ongoing cinematic motif with the line ‘so pretty in the final scene’. An irregular drum pattern is demonstrative of the draining feeling that comes when out of love. It notions being far away from romance, symbolic of the groups move from their hugely popular previous album. As the title infers, it explores the intimate moments when you’re getting to know a partner, and dramatically turns to a plea of ‘Help me navigate this broken heart’. It closes with a repetition of ‘Lack of me, lack of you, dying and dying and dead’ as a final act of emotionless self-preservation.
It's a rock, synth heavy record which captures that familiar numbness that comes with modernity as each headline drops. Gone are the days of processing, now just monotonously rolling from one day to the next in the current state of the world. Similar to Everything Everything’s 2024 release ‘Mountainhead’, it uses synths as a means to provide that bit of solace in the, at times, apocalyptic landscape.
Fontaines D.C are heading out on tour next month calling at Liverpool, Manchester, Leeds, Glasgow, Birmingham, and London, before being the first domestic band since U2 in 2001 to headline Slaine Castle. Album information and tour dates can be accessed here.
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