After five years at the top of the post-rock/post-punk scene, Romance nails Fontaines’ position as a decade-defining guitar band.
Since their 2019 debut, Dogrel, Fontaines D.C. have been a revelation for guitar music: catapulted from Dublin to the forefront of the British and Irish alternative scene in the blink of an eye, FDC have been prolific and consistent with unshakeable quality. Three albums in and the band are making significant waves with their fourth studio record, Romance.
The consistently high-quality tunes Fontaines D.C. perpetuate has seen them grow: from post-punk roots into moodier, gothic and experimental territory A Hero’s Death was strong but 2022’s Skinty Fia seriously cemented the band’s reputation as one of the most revered acts across Ireland and the UK, with a live reputation to boast and critical acclaim by the bucketload. Fontaines already felt like they were cresting a wave, but Romance takes everything up a notch. Skinty Fia and the live shows thereafter had the band at, what we thought, were the peak of their powers. A new record label (the formidable XL recordings), new looks and a link-up with one of the decade’s best producers, James Ford (Arctic Monkeys, The Last Dinner Party) has FDC charting further heights.
Romance, from the outset, is nothing short of sensational. The title track opens the record and establishes that the band we’re dealing with here are an entirely different proposition in 2024: uneasy synthy dread fills the space, with frontman Chatten repeating the chorus ‘maybe Romance is a place’ before the post-rock synths come back in with some gusto. It feels like a step into the unknown for Fontaines, but one they’re making with massive self-assuredness. Confidence flows through this record, and as we launch straight into ‘Starburster’, the sensation becomes ever more prevalent.
Arguably the single of the year, ‘Starburster’ is a driving, grooving banger that sounds every bit as fresh as it did in single form. The chorus is punctuated by gasps from Chatten borne of a tube-station panic attack, the guitars perpetuate the acute feelings of dread that run deep on Romance, and the relentless drums are low-key in their frills but the beat feels tailor-made to match a confident stride. Something about this track embodies the “I’ve just had 2 pints and the sun’s out” sensation, and the confidence of that unlocked feeling that is just oozing from “Starburster”. The cut is Fontaines at their brilliant best.
New single ‘Here’s The Thing‘ is yet more top-drawer work from the Dubliners: screeching grunge guitars drowning in fuzz burst through at every moment on this number, with more muscular percussion and further breathy backing parts makes this thing huge. Fontaines are simply relentless in their pursuit to knock your socks off with every number: three tracks in and Romance has the feeling of an Opus.
Things are a little softer on ‘Desire’ until they aren’t: a beautiful string intro is burst apart by more monstrous percussion. The production values throughout this record are of the highest quality, with Ford matching the band’s skill and ambition blow for blow. As the cut swells larger and larger, Chatten’s vocals are wonderful as he delivers spoken word over his own harmonies. The entire record feels cinematic (a recurring theme of James Ford’s work), and it’s a look that seriously suits Fontaines. There’s more of the same on ‘In The Modern World’ and ‘Bug’ (a number that could be a Bond theme, though it feels unlikely FDC would give that offer much credence). Every inch, each corner, every drum beat, bassline, electronic flair or delivered lyric on Romance is nothing short of perfect; presenting the group’s most accomplished work to date.
‘Motorcycle Boy’ is a real standout, and such a feat is difficult amongst such serious quality. More electronic quirks and flares on a looped background, layered with minimal guitar, marching drums and more gold from Chatten. Every member of the band has upped their game here, with the group taking on new duties in the form of keys, synths and more to complement their already accomplished chops as musicians. There are real shades of Moby’s Porcelain as well as Portishead’s Dummy and Mezzanine-era Massive Attack: something about the brooding atmosphere and overwhelming sense of grandeur on those records bleeds from every pore of Romance.
‘Horseness Is The Whatness’ is a softer number, and the accompaniment of brushed drums and sensitive strings make this yet another moment of relentless quality. The number feels like the cinematic closure of this album, with the string parts wrapping a neat bow on Romance. That is, before the cut shifts dramatically, taking another turn into the anxiety-ridden instrumentals we got throughout the first act of the record. ‘Death Kink’ is undoubtedly the peak of this album, with Fontaines seriously channelling peak Pixies, with minimal riffs transformed into a track of immense magnitude. There are shades of grunge and Nirvana in the solo, with the guitar tone sounding like prime Nevermind in parts: more quality vocal work from Chatten, and the rest of the band are again hitting a fantastic peak here.
Second single ‘Favourite’ is another belter, and rounds this record off nicely. After the desire and desperation of ‘Death Kink’, ‘Favourite’ is like a glorious ray of sunshine after the storm. It’s optimistic and hopeful, a theme that doesn’t rear its head on any other number from Romance.
After five years at the top of the post-rock/post-punk scene, Romance nails Fontaines D.C.’ position among the best guitar bands of the last fifteen years. There are very few alternative or ‘rock’ albums that can land a blow on Romance, and the entire record is packed with some of the band’s best-ever songs: there’s not a dud on the thing, a lull, or even a singular moment that doesn’t feel exactly in its right place. It’s in your face and cocksure at times, whilst vulnerable and melancholic at others – the band do not put a foot wrong throughout.
Featured image: Simon Wheatley
