Written by Marlee Price
Irish alternative rock group Fontaines D.C. released their new album Dopamine Chamber on October 16th, 2026. Since 2019, the band has released five studio albums, categorizing themselves as a rising staple within the post-punk and crank wave music scenes.
What I like about this new record is that it puts a different spin on the classic Fontaines D.C. sound. Upon a blind listen, it’s clearly Fontaines, as lead singer Grian Chatten’s voice overlaying the group’s dark instrumentation is unmistakable. However, there is a new synth-heavy aspect woven into the entire record that makes the project feel retro but modern at the same time. These bright synthesizers compliment the moody guitar riffs and drum patterns that are typical to the band’s performance, creating a spacey experience for the listener.
An opening track is important because it sets the tone for the rest of the album. The first track, “Six Shot Morning,” exemplifies the phenomenon I was just describing above. The deep synth kind of reminds me of the noise a blaster out of Star Wars makes. As Chatten’s droning vocals enter in, you can tell that the melody is building to something bigger. His repetitive chanting of the word “always” almost puts the listener in a trance, causing them to imagine, along with Chatten, a lover they’d like to spend eternity with.
Track #2 is the leading single off the record. True to the song’s lyrics, “Marianne” actually does have a “cinematic feeling.” Once again, the synths compliment the anchoring riff from bassist Conor “Deego” Deegan III. My favorite part of this track is towards minute 2:50 when two of Chatten’s melodies are sung in tandem. If you close your eyes, you can almost picture the story coming to a climax like you would in an actual movie. The next two tracks, “Mimesis” and “Happy For You,” both pay homage to the 1980s era of music, but in two separate fields. The former fits into the synth-pop category, and the latter into the genre of dark wave.
The following two tracks both have very captivating energy. They work because they are interesting. “Demolition” is fueled by periodic rests in the instrumentation and vocals that return together a beat later. “Tongue” is the second (and my favorite) single off the record. The vocals here are presented in a satisfying cadence that makes it fun to sing along with. Consistently, the energetic drums are paired with distorted guitar and heavy bass, but in “Tongue,” there is also a nice little keys touch that I think completes the song.
Track #7, “One Man,” has a slower and more thoughtful composition than the rest. As more and more instruments kick in, the song becomes more intriguing. This flows nicely into the third and final single on the record, “Where Is Gone?,” which features Spanish singer-songwriter ROSALÍA. This song serves to be Fontaines’ only collaborative project they’ve ever released. It was interesting listening to Chatten’s voice being accompanied by a female voice, but my skepticism was soon erased as I continued through the track. Chatten’s low register and ROSALÍA’s higher one work together like complimentary colors, effectively balancing out the entire record.
The record sinks back into its former moody alt rock tone with the following track titled “You Miss Me.” Instrumentation reminiscent of their 2024 track Starburster can be heard here. The final tracks “Japan” and “Intimate” bring the album to a close, first with a lighter-toned ditty accompanied by acoustic guitar, and second with the lyrics “Dying and dying and dead / Dying and dying and dying and dead” as Dopamine Chamber itself dies.
Upon several listens, I have concluded that every song on this record is good. Not often can artists accomplish this feat, especially on a fifth release. This only proves that Fontaines D.C. is a force to be reckoned with within the alternative rock industry. I hope they continue releasing music for years to come.
Favorite Tracks: “Tongue,” “Intimate,” “Demolition”
Rating: 9.3/10