Label: XL
Released: 23rd August 2024
Fontaines D.C. have always been a band that people want to pigeonhole. From the ‘new post-punk’ of their debut to being the frontrunners of the ‘Celtic revival’ on 2022’s ‘Skinty Fia’, it’s been a constant effort to stay one step ahead of people’s preconceptions.
New album ‘Romance’ is no different – in fact, it’s probably the most radical departure yet. Cyberpunk outfits, Y2K visuals, and songs, which range from the nu-metal influenced ‘Starburster’ to the almost Weezer-esque sonics of ‘Here’s The Thing’ (No, it isn’t a Sports Team cover – Ed), all combine to make this a very different beast to anything that’s come before.
Across the album, there is a dizzying range of influences and sounds. Even singer Grian Chatten’s voice sounds different from track to track, as he eases into a vocal range which has been notably absent on previous offerings from the band. ‘Romance’ is an album constantly straining at the boundaries of the possible, expanding and expanding until it feels like there’s no corner of the band’s experience that it hasn’t explored. ‘Death Kink’ is far and away the heaviest Fontaines have ever sounded, but it exists on a spectrum where ‘Desire’ layers and layers to a string-laden crescendo, while the hauntingly melodic vocals of ‘Motorcycle Boy’ are at times only accompanied by introspective lyrics and an acoustic guitar.
There’s a trajectory with a lot of bands where each new album is a distillation of what came before, similar influences but with a more professional execution. In doing the opposite, Fontaines D.C. have gambled that their skill and talent is enough to hold together an album which takes from so many genres and influences that it’s constantly at risk of collapsing. The result not only avoids incoherence but also cements the band’s status as masters of their craft.
Anyone can switch things up, but the real challenges are sticking the landing and bringing your fanbase along with you. ‘Romance’ has no issues with the former, and if the feverish excitement around the band’s return is anything to go by, they’ve not struggled with the latter, either. In a world where most guitar music struggles to break out of the indie bubble, could Fontaines D.C. be the biggest band of their generation? Nothing in this world is certain, but if they keep this up, it feels as nailed on as it ever could be.
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