If you come into ‘Dopamine Chamber’ expecting It to be an instant indie classic, then it’s time to adjust those expectations.
Few bands in the modern landscape of music have made as huge an impact as Fontaines D.C. have, and I’d go as far as to say they’re the stand out band of the 2020s. There’s notable names, but none quite as prevalent and revolutionary as the Dublin band.
However, fifth albums can be sticky. The first introduction is complete, the second test of survival is checked off and suddenly you have a string of albums that define your legacy. By the fifth you need to be doing something revolutionary to remain at the top of the game. ‘Dopamine Chamber‘ enters the conversation.
By this point in a bands lifespan, the honeymoon period is over. People know what to expect and there’s an established sound to uphold, without the risk of playing it too safe. A lot of bands feel a pressure to evolve and diversify their offering, whereas some double-down on the sound that has got them to this point in their career. whilst there’s no correct formula, it’s safe to say Grian Chatten et al have taken on a new challenge.
During the writing and recording phase of this new album, the bands longtime manager Trevor Dietz passed away. This triggered the melancholic realism in the songs to take on a new meaning to the band, and one that carries through to the listeners.
I attended a listening party a week ago at my local record store (They’re a great team at Vinilo if you’re ever in Southampton) and my immediate reaction was if ‘Skinty Fia‘ and ”Romance‘ combined, this would be the end product. I stick by that offering.
In the early days, they were defined by the scratchy guitars and poetically post-punk vocals, but all this makes way for the newest revolutionary twist in the long history of the band. This fifth instalment see’s them push deeper into ‘Romance’s‘ electronic sound, cinematic atmosphere and a boot load of pulsating synths. Think Depeche Mode’s stadium ready anthems meet the delicate fragility of The Cure.
The 5-piece cover the current landscape of dystopian wars, AI takeovers and phone screen dominations. Chatten is once more joined by Carlos O’Connell, Conor Curley, Conor (Diego) Deegan and Tom Coll.
The album opens with ‘Six Shot Morning‘ and its electrifying synths and Chatten’s crooning opening vocals that are disrupted by a regimented drum beat. The disturbing atmosphere continues into ‘Marianne‘ and its memorable Duran Duran-esque electro pop.
Inspired by Riply, it was destined to be lost in the 40-something creations the band brought to life during the writing process, before manager Dietz advised it was destined for the album. The track earned its stripes, and now serves as a permanent tribute to their friend and manager.
‘Mimesis‘ opens with a bass driven melody that fuses Peter Hook’s grit with the danceable nature of an INXS bassline. Grian Chatten’s poetically driven lyrics are ever-prevalent here as he fights the synths for centre stage. “Your indifference won’t make me disappear” rings resolutely in my ears.
Next up, the slow burning ‘Happy For You‘ takes you on a journey of a bitter breakup, that combines into a slow-burning indie guitar crescendo, highlighting resentment and bitterness in final stages of a relationship.
‘Demolition‘ originally disguises itself as a delicate, 80s song in the style of The Smiths, however these walls are eventually broken down in a dirty, heavy alt-rock anthem. The stop-start motion of the song will certainly assists it’s claim of being a ‘Live Forever’ style stadium filler.
Holding position as an experimental, disorienting song, ‘Tongue‘ is as 2026 Fontaines D.C. as is possible. Pitch-shifted, warped bass and alien-esque vocals, oozing with electronic textures. It’s packed to the brim with samples, and the production upholds an uneasy, psychological unravelling throughout.
‘One Man‘ enters the fray as an emotional anchor following the detour ‘Tongue‘ takes the album down. It’s deep-rooted ballad that glides around grand orchestral arrangements, and Chatten’s delicately ushered vocals.
The incredibly cinematic ‘Where Is Gone?’ combines Grian Chatten’s soothing vocals in a sumptuous duet with Rosalía. The latter ditches her pop energy for a breathless delivery that helps to create the cinematic, espionage gravity that feels at home over the iconic 007 opening credit sequence.
The vocals return slightly to their previous album counterparts in ‘You Miss Me‘ as they combine with stabbing orchestral movements and a chorus straight from the mid-90s stadium indie rock. Things are stripped back with ‘Japan‘ which serves as the emotional payback in the album.
Contrasting with the gloomy, dystopian tension found throughout the album, this acoustic driven tune is warm and dreamy. The album reaches its conclusion with the harrowing and abrasive ‘Intimate‘. Picking up where most of the album finishes off, it reminds you why this compilation feels so dystopian and disturbing. It descends into a hypnotic, closed door on the album.
Some fans of Fontaines D.C. may feel like they haven’t been given the indie classic album they hoped for, but their right for experiment has been earned. If you can accept that this is their new sound, then you’re in for a treat with ‘Dopamine Chamber‘.
Not only does it have the atmosphere, but there are some songs in there that are designed for the stadium setting they’re soon to be played in. After five albums, they’re in that enviable position of being able to reinvent themselves.
They’re looking to the future and taking risks. ‘Dopamine Chamber’ embraces the unknown and unease, resulting in an atmospheric masterpiece.
Written by Brad Halcrow for The Songbird HQ