Post-punk leaves in dust, roars into broad new horizons

What comes after post-punk? When the sharp guitar riffs begin to wear out and the spoken-word style loses its edge, what follows? Dublin’s Fontaines DC, known for their significant contributions to the resurgence of post-punk, are not sticking around to find out. Ever since their 2019 debut Dogrel, they have been evolving and slowing down their sound. By their third album, Skinty Fia, released in 2022, they reached their first UK No. 1. Lead singer Grian Chatten’s poignant Dublin storytelling became wrapped in dark, oceanic vibes, accordion sorrows, and sparse choruses. It felt less like a young James Joyce trapped in Temple Bar’s basements and more like the deep, gothic murmurs from the depths of Robert Smith’s darkest pop well.

Unlike the consistent style of Skinty Fia, their fourth album Romance explores a variety of genres, including synth rock, acidic folk, chamber pop, and deep shoegaze. The only predictable element is the lyrical unpredictability. For instance, the title track, where Chatten’s developing tormented croon since “No” from 2020’s A Hero’s Death delivers not a sweet love song but rather a chilling, romantic monologue. Against a backdrop of ominous sounds and harsh fuzz, reminiscent of Peter Gabriel’s moody “Lay Your Hands on Me” from 1982, Chatten delivers lines fit for Hannibal Lecter. “I will be beside you/ ’til you’re dead,” he sternly promises. “I pray for your kindness/ Heart on a spit.” The track “Desire” is similarly downbeat, conjuring images as dispassionate as those in early Coldplay songs, particularly when Chatten envisions burning firefighters turning to glass.

The album, however, journeys through different dimensions of romance beyond the Irish romanticism of their previous works (the band moved from Dublin to London during the pandemic). “Starburster” paints a cryptic picture of love against an apocalyptic backdrop, with hip-hop beats and 60s spy movie guitar riffs, and Chatten’s rapid singing reaches near-panic levels. The orchestral rocker “In the Modern World” dissects life in an urban polyamorous relationship, a mix of The Verve, Echo & the Bunnymen, and Ultravox vibes. “Death Kink” offers a dark look into an S&M or possibly abusive relationship, sounding like Pixies in a twisted collaboration with Garbage.

The album then shifts to a breezy, Smiths-like indie folk closer called “Favourite,” featuring a guitar riff reminiscent of something from Viva La Vida… The depth and richness brought by new producer James Ford, who replaced Dan Carey, is evident. This record leaves post-punk behind and sets the band on a path toward broader musical horizons, showcasing their fulfilled potential.

Source: Simon Wheatley