Fontaines DC’s album, Romance experiences a notable shift in a midpoint song, ‘In the Modern World.’ This Irish band is known for their impressive tracks, but this one stands out, creating a seismic alteration in both the album and their own musical terrain. As a result, the band evidently transcends to a different domain.
Having attracted attention with their 2019 album, Dogrel, band members Grian Chatten, Tom Coll, Conor Curley, Carlos O’Connell, and Conor Deegan III constantly pushed the boundaries with the size of their music, at times verging on overwhelming their typically restrictive tone.
Their initial album drew heavy inspiration from Dublin, with the opening line candidly claiming, “Dublin in the rain is mine.” Their consecutive album, which was shortlisted for a Grammy, A Hero’s Death, at times reduced the pace, elevated the atmosphere’s nervousness, yet maintained the enclosed band environment with the striking initial line “I don’t belong to anyone”. Their third album, Skinty Fia, reflected on the band’s diasporic experiences, viewing the Irish Sea from London’s perspective.
This evolution has involved a mix of acquiring and letting go, with numerous tours, four albums in five years, Chatten’s 2023 solo record, Chaos for the Fly, and now the initiation of a new phase that transcends not just their image, sound, lyrics, but even, arguably their spirituality.
The album, Romance, kicks off with “Into the darkness again,” ending with the captivating ‘Favourite.’ Unlike previous Fontaines LPs which tightly adhered to a particular style, this album explores a fresh landscape, filled with imagination, potential, and a futuristic outlook.
The band cites influence from the Japanese film Akira, the anime show Cowboy Bebop, the unique atmosphere of Shibuya at dawn, films from Paolo Sorrentino and Nicolas Winding Refn, and most notably, the novel Land Sickness by their friend Nikolaj Schultz. It necessitated an extra touring member, Chilli Jesson, to play it live.
Chatten, the lead singer of the band, states feeling liberated. The theme of romance isn’t simply a title, but rather, a fundamental principle that supports their entire work. “It’s like a whimsical space, a haven within oneself,” Chatten explains. With this newfound liberation, the band has successfully crafted a record that allows their emotional depth to shine through. Chatten has always been drawn towards majesty in music and believes that they have substantially achieved it in this record.
Concerning their process, Chatten explains that their writing is a continual, independent procedure. Were it not for the lengthy production process, promotion, media attention, and touring, the group would likely be producing far more music.
Guitarist and synthesizer maestro, O’Connell, states that when they initially begin crafting an album, the broad spectrum of themes often feels disjointed and unfocused. However, as they fully immerse themselves in the music and lyrics without preconceived notions, they usually discover a connecting storyline that binds specific songs.
James Ford, a prominent and influential producer, oversaw the album’s production. Despite the rigid deadlines of the highly charged creative room, he managed to maintain a level of patience, O’Connell recalls. He goes on to state that it is this patience that yields the wealth of detail present in the record.
The ensemble penned a significant amount of their music while touring with Arctic Monkeys the previous year. A stint in a French house led to an immersive creative environment. Coll, the drummer, revealed he only left the house three times in three weeks, inevitable in their hrs of musical labor. According to O’Connell, full absorption in one’s creation is crucial. Otherwise, he ponders, what’s the purpose?
Chatten confided that in the early parts of the preceding year, he had a feeling akin to hurtling off a precipice at vertiginous speed. His band had wrapped up a tour in the Land of the Rising Sun, and their pockets were not empty – a welcomed rarity. They were at a juncture, contemplating their next steps. Chatten remembers experiencing an all-encompassing sense of liberation, but it wasn’t exhilarating; instead, it was disquieting, like an abyss opening in front of him.
His curiosity led him, on a whim, to Los Angeles. While he admits to not being particularly fond of the city, he can’t deny its fascinating allure. He confesses, “LA gets under your skin, makes you feel something real…”. He felt the city probing the numbness that was slowly creeping in. There’s a palpable desolation inherent to the city that touched him deeply.
Taking a pause, he revises his stance slightly, remarking that his attachment to places isn’t about liking or disliking them. It’s about whether they stimulate his interest or leave him feeling underwhelmed. He admits that LA’s friction piques his interest, even if the overall sentiment was somewhat melancholy.
A bit unsure and directionless, he chose to swim against the current of LA’s time zone. His daily routine comprised waking up as the city settled into today’s evening, and heading to East Hollywood’s Lotus Lounge. His connection with the establishment grew to a point where he found himself serving pints behind the counter.
As he ponders on his experiences, he doesn’t wish to over-romanticise them, yet he can’t escape the feeling of sensing an echo of Lana Del Rey’s spirit during his time there. Coupled with the tour’s conclusion and his solo journey, Chatten felt a palpable sense of mortality and afterlife. It was as if he was grappling with an identity crisis, stripped of his former self, confronting his isolation head-on.
He muses, “There’s something about the slothful vibe of the American west coast, its divine facade, and its sordid underbelly that reminds me existentially of death.”
Chatten refers to the poignant melancholy of “In the Modern World” as a “pearly-gates” type of sadness, attributing its inspiration to Del Rey and the beatnik poets. With lyrics such as “Come away with me and Sal,” the song paints images reminiscent of On the Road by Jack Kerouac. Deegan, the crew’s bassist, talks about these visions of journeying across the American desert in a tattered 1950s automobile, stopping at motels for warm beer, while coping with dysfunctional air conditioners and dilapidated fans.
The song can possibly be seen as an evolved answer to “Big,” the first track on their initial album, viewed through the lens of time. Is it entertaining to imagine the protagonist transitioning from his aspirations to his current state of affairs? Deegan asserts. It’s the kind of song they had always dreamt of producing while at music school, but never believed they could. And now that they have achieved a level of confidence as musicians and songwriters, they could realise it. An achievement that is quite different to their beginning with “Big.”
Curley, the ensemble’s guitarist, shares his memory of first hearing a preliminary demo of the tune at Chatten’s London residence. Observing Chatten as he focused on the loudspeakers, Curley couldn’t help but be filled with anticipation. He recalls thinking, “Bloody hell, this is going to be vastly different. It’s going to be so thrilling.” Curley found it was his job to aid in transforming the “lyrically amazing” piece into the “massive song” it was designed to be.
Contrastingly, during the days of creating Dogrel, Chatten was unable to stand the sound of his own voice. After the completion of the album’s recording with the help of producer Dan Carey, they had a listen-through celebration, but Chatten was absent, having chosen to go to the local pub, only to return when the session had concluded. Now, his attitude is different. He says, “I feel like I’m gradually fitting in as I age. It particularly feels like a journey towards self-acceptance.”
He halts himself, stating, “It feels as though I’m at a metaphorical spiritual retreat expressing this. Yet, understand my point? Now I’m letting my voice express itself, instead of forcing it out. The way I sound on this album truly appeals to me. I don’t believe I’ve ever felt this way before.” During Romance, there are instances where his vocals soar, making sudden atmospheric turns, and others when his voice lowers, as if plummeting into an abyss.
In reaction to a panic incident, the lyrical content and vocal delivery of Starburster, the debut single from their new album, came to the surface. Chatten had grown weary of his relentless anxiety, and was indeed irate about it. The song is his manner of confronting this issue. The swagger in the tune is born from a united faith in their capability. Chatten also recognises a specific sensual energy on the album and a sense of desire. He equates this to “a completely novel shade of expression. I sense that this has been a prohibited shade for me for a lengthy period because it felt self-congratulating or somewhat self-indulgent. Yet, I discovered that incorporating such an element adds a fresh perspective in the writing.”
Diagnosed with ADHD within the last year, Chatten reveals he is learning to be more forgiving towards his younger self, showcased in nostalgic camcorder footage from their Favourite music video. “The expressions I’m conveying reveal that I’m entirely engrossed in the music without the distraction of looking a certain way,” he admits. “That’s exactly how I am when I perform currently. I still look like an utter fool. I’m just as moved and disconnected as I am when we’re performing.”
As Deegan asserts, being on tour morphs the band members into outgoing personalities and entertainers. “But this didn’t provide the satisfaction the artistic desire within us seeks, or the need to articulate something precise… For many, art is a form of expression for the introverted.”
The unwavering commitment to constant song-writing, even while travelling, is fundamental, highlights Deegan. It’s important to be prepared for that creative moment, regardless of whether it materialises or not. You must be seated at your keyboard, strumming your guitar or typing up lyrics on your laptop even when you don’t feel like making music. The important thing is to put in the effort, good or bad. Consistency is king, as it leads to frequent periods of productive creativity. By dedicating time to your art, you reduce the obstacles between yourself and a spontaneous idea, enabling swift transcription of thought into melody. This consistent labour has its rewards.
Curley has found himself recently drawn to the early creations of Massive Attack and Portishead, as well as the music of Bowery Electric, particularly their track ‘Freedom Fighter’, whose influence echoes in ‘Starburster’. His interest lies in sounds that exude contemporary vibes. The fear and thrill of venturing into unchartered territories of music that are yet to assert their place in the world excites him, as opposed to borrowing from well-established genres like the alternative rock of the 80s and 90s.
Coll notes that each time they produce an album, it feels significantly different from the last; this recent one being the most divergent so far. He relishes the surprise and shock audience express about the album’s sound and production. His stint on drums on the Kneecap album ‘Fine Art’ intrigued him towards a hip-hop rhythm. He found himself replicating drum-machine styled beats while simultaneously being engrossed in hardcore, 90s grunge and Zamrock. He was especially captivated by the fusion of electronic and acoustic drums of Nine Inch Nails.
Fontaines DC exhibit a novel appearance for ‘Romance’. Curley perceives the album cover to encapsulate the album’s aura: a glossy depiction of the future yet harbouring an underlying destructive nature that potentially detaches us from our humanity. This provokes fear, but it does not deter them from immerging into this new reality.
As the musical group expands their artistic frontiers and gains increasing significance in today’s society, maintaining a level-headed demeanor remains a test. Chatten acknowledges self-reflection, expressing his aim not to be overwhelmed by a sense of accomplishment. “It feels as though I can perform for a vast audience and almost erase it from my mental recall,” he explains. However, this becomes challenging when he identifies someone covertly recording him on public transport. Realising his diminished privacy and anonymity in the face of his popularity, is a confronting reality. He is exerting efforts to be more comfortable with it.
Let’s rewind to the commencement string session in ‘In the Modern World’. Initially, it seems straightforward yet appealing. Slowly though, an underlying acoustic element beneath the electric one becomes observable. Could it be the striking of the strings just before the pickup amplification? The melody fades, resurfacing as a gentle harmony between acoustic and electric. The undercurrent reveals itself. Romance – the album, the theme, the objective – lives within this crevice between ideation and reality, between the will to create and its fruition, the intent to introduce novelty and its realization, the sentiment and its conveyance.
Curley suggests that listeners might take a few replays of the album to realize it as a composed whole rather than discrete parts. “But I think that’s characteristic of the best records. Hopefully, this one will resonate with people,” he adds.
“Maybe romance is a harbor,” Chatten vocalizes in the main song. This isn’t an equivocal verse but an inventive exploration that’s propelling the band into unexplored territories. Only through an unbinding pursuit can freedom begin to be unearthed.
The Romance album was launched on Friday, August 23rd.