Thin Fia is one of those albums that captivates you from the first listen. The death of a hero is demanding and a huge step. The debut Dogrel carries intensity and anger. And now, Fontaines DCfourth studio album romance It is entirely up to us to explore it.
Formed in Dublin, the group have proven that while they have a distinctive sound and vocals, they are constantly evolving. They have tried everything from post-punk notes to a softer indie rock rhythm. This record is the perfect summary of their career from 2019 to now: it begins with an ominous yet theatrical title track and ends with the cheerful and lighthearted “Favourite”. It’s almost like a cycle that completes itself, as it begins with the words “Into the darkness again” and ends with the beautiful “You were my favourite for a long time”.
The first track, marked by those thunderous guitar reverbs, flows seamlessly into the experimental and, frankly, strongest track on the record, “Starbuster.” While lead singer Grian Chatten almost raps throughout the track, a constant wave of vocals in the background is echoed by the brutal and punk-like drums and guitars. “I wanna take the truth without a lens, my God-given madness, it depends,” he screams before the bridge, proving once again the band’s penchant for wordplay, poetry and social criticism.
While the third track ‘Here’s the Thing’ falls a bit short with its structure that is too repetitive and disturbing, Fontaines DC triumphs with the string-infused and ethereal ‘Desire’, which is also one of my absolute favorites on romance. We can hear some of Skinty Fia in this track, with full and blunt guitar sounds and vocals, while Chatten sings softly in a higher key, especially during the chorus. A lot of things have changed since Dogrel To romancebut I can’t say it was bad or malicious.
Speaking of 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 features some of the best vocal performances Chatten delivers on the entire record. It’s hard to describe this song, it’s full of angst and almost resignation, but deep down there is a glimmer of hope for better times, embodied by the captivating guitar solo and whispered lyrics. This track is about helplessness, the lack of enthusiasm and empathy, and how our souls become numb due to the pressures of the outside world, as Chatten confesses: “I don’t feel anything in the modern world and I don’t feel bad.” However, there is a resolution at the end, pointing to the relief that love brings, as finding love for things or people will always be our only method of redemption: “It seems so hard to be simple, when it comes down to it, you complete me.”
The interesting fact about romance is that it alternates between poignant tracks like the one above and more ‘filler’ material like ‘Bug’. At times it risks affecting attention spans as the listener is pushed from one extreme to the other with no real direction. On a more positive note, it also makes the listening experience a little lighter and easier as it provides variety and diversity. No two tracks on this album are the same, which is always a positive.
Another beautiful example is “Motorcycle Boy”, which keeps me on the edge of my seat with its acoustic mood and growing rhythm. There is also a subtle political commentary in the background, which is absent in every Fontaines DC song, especially when the lyrics explain that “nobody wants madness” and that a “sinner shows emotion” while the church bells ring. Besides this song, “Sundowner” is also a pleasant track, consisting mainly of echoing Tame Impala-esque vocals and pounding drums. There is a sadness in Chatten’s lyrics, a newfound introspectiveness that is not as angry as in “Skinty Fia”, but has instead found a new, more collected dimension.
There is a big difference between the next song, “Horseness is the Whatness,” and its follow-up, “Death Kink.” While the former is gentle, nostalgic, and melancholic with its violins, plucked guitar strings, and meaningful drums, the latter is hectic and chaotic, almost reminiscent of their punk days. Despite this, I really appreciated the use of violins throughout the record, as they provide a sense of belonging and help romanticize the listening experience.
The tenth track, “Death Kink,” is not the strongest on the album, even if it is very appreciated in a live setting. It has a Nirvana aftertaste, both because of the insistent guitars and the way the frontman morphs his vocals. However, the transition between the tenth track and the last one, the aforementioned “Favourite,” is again abysmal and not very organic.
With the last track, however, Fontaines DC have established themselves as a permanent fixture in indie rock music. They seem to be able to do everything: punk, rock, experimental, indie and even grunge. The constant guitar repetition in the final song can only be described as sunny. It evokes a feeling of peace and after a rather “dark” and lonely album – which at times presents itself as dull and difficult to understand – it finally gives light and gives the listener the everlasting feeling that everything will be OK in the end. Maybe.
Text by Silvia Pellegrino
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