Irish quartet Fontaines D.C. released their fifth studio album on Friday, Oct 16.
“Dopamine Chamber” is the first release from the band since 2024’s “Romance.” Fontaines D.C., led by lead singer Grian Chatten, is regarded as one of the more popular bands in the modern post-punk scene. With James Ford on production duties once again, returning from their last album, how does “Dopamine Chamber” stack up with the rest of Fontaines’ discography? Let’s dive in.
“Dopamine Chamber” begins with a wave of drone and synths akin to those in “Hunter” by Björk. Chatten croons melodically over the drone creating a futuristic, apocalyptic atmosphere. It’s not until the drum beats kick that the song feels like classic Fontaines. The song then breaks down into some sweet synths, getting us off the rails and starting the album off strong.
Track 2 is the lead single “Marianne” — textbook Fontaines D.C. This would fit right in on “Romance” and that’s not an insult at all. The band sounds great, very loose, like they are messing around. Chatten’s vocals are on point; a laid-back delivery on the verses helps make the chorus feel fuller.
“Mimesis” and “Demolition” are unique to Fontaines’ overall discography. “Demolition” feels like it was ripped straight out of the late 2000s or early 2010s. The song is a heavier indietronica, instead of feeling sweet like a Phoenix track or a Bloc Party ballad. “Demolition” is dark and muddy.
“Mimesis” is a well-written pop track. It features some similar background vocals to those found on tracks on “Romance.” Nothing extraordinary, but a solid song. At the beginning, the lyrics of the song remind me of “Tonight, Tonight” by The Smashing Pumpkins.
Funnily enough, “Happy For You” also reminds me of “Tonight, Tonight.” The drums that come in after the first chorus evoke the drums from that song. “Happy For You” is a solid track; the driving guitar line gets a bit old towards the end, but the chorus is sweet, and the distortion in the end makes the song.
The other singles “Tongue” and “Where Is Gone” are two more highlights. “Tongue” is a heater with great production. Chatten’s refrain of “More abuse than an Adderall, S— I’m sorry, didn’t realize I called” is an earworm. It’s a grimy track that oozes with their patented style. Then “Where Is Love” (feat. Rosalia) is a grand track. Chatten digs deep into his lower register and sounds phenomenal. Combining Rosalia’s vocals, they work very well together. This along with “One Man” provides a nice contrast to the upbeat tracks.
“You Miss Me” is a solid track; it can feel a bit clunky in the verses, but the chorus is strong.
“Japan” is an acoustic track. Chatten’s vocals and line delivery help save the track from being dull. Like most of the album, this song doesn’t move the needle but it’s a pleasant listen.
“Intimate” as the closing track does not hit as hard as it should. It creates a nice atmosphere and a good build but doesn’t supply the knockout punch this album needs. It’s not a bad song but, a bit lackluster.
“Dopamine Chamber” doesn’t reach the heights of their previous album but is a more consistent outing from the band. This serves as a nice companion album to “Romance.”
Rating: 3.5/5