Bursting into the alternative scene with their debut album Dogrel in 2019, Irish band Fontaines D.C. have been a staple in the modern post-punk community ever since. Their unique blend of adventurous instrumentals with poetic and politically charged lyrics has been a recipe for success. This sound is on full display on their fourth studio record Romance, which has only accelerated their journey to stardom. Easily the most approachable of their discography so far, this record plays with a slightly matured sound for them, leaning more into their alternative rock influences and moving away from their earlier post-punk vibe. However, this transition feels natural. As the band has changed and progressed in their career, so too has their music. They keep the essential Fontaines D.C. elements, but experiment with different melody structures and unique lyrical themes.
The record begins with the titular track “Romance,” an eerie opener that perfectly sets up the rest of the album. With expansive synths and haunting vocals, you know you are in for something grand. The lyrics, which discuss the complexities and uncertainties of romance, give the listener an idea of what is in store. Aptly named, the album focuses on romance of all kinds, from intimate romantic relationships and friendships to a romantic view of life as a whole. Romance deals with mental health, purpose in life, the nature of humanity, and how all those things interact with each other in the context of modern society.
“Romance” fades into the lead single, “Starburster.” While it may only seem like a fun and energetic song on the first listen, it’s about the experience of having a panic attack. The fast-paced non-stop verses characteristic of overthinking paired with the gasps in between the repetitive chorus make the song not only a clever representation, but an accurate one. The next track, “Here’s The Thing,” opens with a crunchy and captivating guitar riff and an airy melodic chorus. Lead singer Grian Chatten really shines on this one, displaying a new range that we haven’t heard much from him previously. It is centered around the shared pain of being in a relationship and knowing the right decision is to end it, even though there is still love between you both.
The album then returns to a slower pace with “Desire.” The beginning of the track is similar to “Romance” with slow guitars, strings, and the occasional ominous synth, building to a shoegaze inspired interlude. Although it may be easy to pass over since it sits between two singles, this track is worth the listen. It focuses on humanity’s instinctual desire for more, regardless of whether or not the outcome will be positive. The introspective theme of the lyrics is complemented perfectly by the evocative instrumental, leaving plenty of space for listeners to reflect on what is being said.
“In The Modern World” is a beautifully cinematic take on how it feels to be disconnected from reality, but to find an escape in the ones you love. The numbness of the chorus where he sings “I don’t feel anything” contradicted with “I feel alive in the city you like” in the verses further demonstrates the complexity of relationships and the human experience as a whole. Exploring these topics even further, the album transitions into “Bug,” a track about the ups and downs of a relationship, specifically within the context of mental illness. It fits sonically with the rest of the album, inspired by early Smashing Pumpkins, switching between evocative guitars paired with matter of fact lyrics in the verses to a quick and catchy chorus sure to get stuck in your head. These two songs back to back really lean into one of the album’s central themes: the difficulty of finding and keeping love in an increasingly broken world.
We then get “Motorcycle Boy.” The track begins at a slow tempo, building as it goes on, although the build up is never released. On my first listen, I admittedly wasn’t the biggest fan of this choice, feeling like the abrupt end made the song feel incomplete. However, when I took a closer look at the lyrics I understood the reasoning behind such a decision. To me, the song encompasses the guilt of leaving someone you love at a time when you know they need you. In the first verse Chatten sings, “All the life I’ve shown you will own you in time,” highlighting the emotional weight of feeling responsible for negatively impacting someone’s mental health. He feels as though confiding in someone about his own struggles will only make theirs worse.
“Sundowner” deviates slightly from the main sound of the album, but still feels cohesive with references to the shoegaze-like instrumentals we hear on “Desire.” Guitarist Conor Curley takes on the lead vocals for the chorus, and his dreamy backing harmonies throughout the verses bring it to the next level. The lyrics, which feel vaguely regretful and nostalgic, seem to describe a longing to rekindle a lost connection. Chatten and Curly go back and forth singing, “In my dreams, I just want to hear you call, I can’t help it, been waiting for a while,” making it feel as though both want to reach out, but neither does out of fear of what the other will think.
The album goes a level deeper on the next track “Horseness is the Whatness,” a reference to James Joyce’s 1922 novel Ulysses. Twangy guitar, sentimental strings, and the heartbeat of guitarist Carlos O’Connor’s daughter back the track, giving it an innocent sound. O’Connor, who wrote this song, structured the lyrics like poetry, with no clear chorus or verses, contemplating “What the word is that makes the world go round,” and decidedly ending with “You choose or you exist.” While the album as a whole covers some pretty heavy topics, this track is the most existential, leaving lots of room for interpretation. Even though it tackles such abstract concepts, it maintains a sense of childlike wonder and train of thought, an interesting approach not often seen. Returning to an upbeat, rhythmic feel on “Death Kink,” the band incorporates fun melodic structures and a grunge-y guitar solo into a song about the pressure to change for a new romantic partner. The angsty and unorganized sound of the track perfectly represents the emotions present in the lyrics. It also serves as a transition from the more mellow tracks heard previously into the final song of the album, “Favourite.”
This song is one that will stick with you for a while. The main guitar riff and ethereal backing vocals complement Chatten’s voice beautifully, leaving you feeling nostalgic and introspective. With the chorus repeating “You’ve been my favourite for a long time,” it’s no secret the song is about growing up with someone and feeling totally and completely connected to them. No matter how old you grow or far you go, that person will always feel like home. Being the last song on the album, it leaves you with the understanding that this kind of friendship is the most important relationship you can have. People that love you regardless of your issues or insecurities are essential in a world that feels like it’s falling apart.
Fontaines D.C. absolutely blew my expectations out of the water on this record. I have been a fan of them for a while, and with each new release it is clear that they are focused on developing their sound and overall abilities as a band. With each listen through of the album I am always finding something new to analyze or appreciate. “Romance” is not only fresh and exciting sonically, but feels like a complete journey as the band figures out life in the modern age. I highly recommend giving this record a listen, and it may just be my album of the year.
Photo credits from These Subtle Sounds
