Post-punk – Released October 16, 2026 – 11 songs, 44 mins
ROZ
Back in August 2024 the boys at Too Sweet Reviews uncovered a band by the name of Fontaines D.C., an Irish outfit who’s fourth studio album Romance made waves during our year-end. It came in at number four on my ‘2024 Albums of the Year’ list, only being edged out by Lundi pinning it at his number three. Its lead single, Starburster, skyrocketed to the top and landed in my number one spot for ‘Song of the Year’ and still sits proudly alongside the various elites in my rotational playlist. Considering the band has been active since 2014 and it took the TSR crew a damn decade to catch onto them, we made sure that their newest album, Dopamine Chamber, would be a firm lock within our review schedule. Now, at long last, that day has come - will Dopamine chamber live up to the standards we’ve set? Let’s find out.
It’s no secret that the TSR crew loves a sonic evolution and applauds a band that takes risks. However, I would be lying if I said I wasn’t happy that D.C.’s latest record stays close to what made me fall in love with their sound back in 2024. Sometimes there is an innate sensation you get, where you feel that a band still has more to explore in the space that they have carved out for themselves - I truly feel that this is the case here. Much of the magic felt across Romance is very apparent across Dopamine Chamber albeit with an even darker, more dystopian tone compared to their previous (which is saying a lot considering the slivers of darkness that encapsulated that album as well). The bands writing process even seems to mirror their previous, as the album was developed while on the road just as Romance was developed during their tour with rock legends Arctic Monkeys. In a sense, Dopamine Chamber feels like the natural development and maturing of their artistry and celebrity as they undergo this transformation from a talented opening act to a bona fide main attraction.
Producer James Ford once again takes the helm and as I explained in my last review, it is his exceptional skill in the studio that really shapes the album and ensures the overall tonality aligns with Chatten’s writing and ideals. On the technical side, the album is completely washed out using various echo, delay and reverb effects and the arrangements are stacked with dusty analog gear. Moog synthesizers and modular builds are used tactically to give the album a cybernetic sheen that makes it play out as an almost post-apocalyptic, futuristic western. From a personal taste standpoint this synth heavy alt-rock style is one that I cannot get enough of, and is one that has been around for decades - tailored and perfected long before modern bands attempted to replicate it. In saying that, Fontaines D.C. nails the aesthetic flawlessly and Dopamine Chamber supplies an assortment of killer tracks that will get you moving - in fact, I dare you to give Marianne, Mimesis or Demotion a rinse and then try and tell me that you don’t feel the same way too.
Lyrically, Chatten paints a picture of the struggle between instant gratification and a deeper yearning for happiness. It rings especially true that in this contemporary age, short bursts of dopamine hits and “feel-good” chemical releases trump anything above the materialistic surface level that modern society has built itself around. It is no surprise that these hits are what numb artists and regular folk alike, serving as a distraction to avoid the harsh truths and realities going on in the world today. Between the constant socio-political turmoil, the social divides between haves and have-nots, and the ever-looming catastrophe that is artificial intelligence, it makes no wonder that an album built around these themes would have such a dark, brooding quality. Tracks Six Shot Morning and Where Is Gone are especially macabre, giving credit to the writing skills of Chatten himself. Where Is Gone is shared with Spanish sensation Rosalia (the bands first ever track feature mind you) and utilizes a well-crafted call and response structure that took me by surprise, but also ended up being one of my favourite songs on the entire album. Two worlds colliding in the best way.
While it may lose some steam on the back end, we are still dealing with a high-quality record from a band who has been in the game for twelve years and show no sign of slowing down. Dopamine Chamber has Fontaines D.C. pick up where they left off on Romance as they bring their distinct alt-rock sound to the forefront of todays music landscape. Grian further cements his place as one of the most interesting and talented frontmen on the scene right now, while the band once again sets its sights on TSR’s year-end listings.
Overall Rating: 8.3/10
Favourite Song: Marianne
LUNDI
Everybody’s depressed, we’re running on a wheel. A jarring yet near undeniable truth society faces as the landscape around us grows more bleak with each passing day. Through art though we can find an outlet of love and hope, making no better time for this week’s band to deliver music that sounds like the world is slowly coming apart at the seams. Dopamine Chamber sees Fontaines D.C. embrace a darker, more ethereal sonic palette that is altogether more immersive. Despite the shift, the enjoyment is instant. For a group well positioned as the greatest rock band of their generation, the bar is high, and while this isn’t quite the no-skip masterpiece we are still waiting for it’s another excellent addition to an already remarkable discography.
At the centre of the Fontaines universe is Grian Chatten whose voice continues to be one of the most distinctive instruments in modern rock. There’s a genuine star quality to his delivery, a natural charisma that makes even the most understated moments feel important. His ability to switch between Irish dialect driven verses and the almost Hollywood proper English hooks is remarkable, with every change in annunciation, pitch, and phrasing adding another dimension to his performance. His soft falsetto provides excellent contrast to the widely used deep grovel that’s drenched in reverb oscillating beneath the surface of the instrumentation, enveloping you in a way few frontmen can manage. Chatten sounds like he’s narrating the collapse of civilization but there’s always enough humanity in his delivery to keep things from becoming entirely bleak. His lyrics draw from an immersive knowledge of history, art and the unsettling present, painting a picture of a dystopian future that feels uncomfortably close to home, yet he never gets bogged down in preaching about the things that may eventually devour us all. Instead, he seems to understand that the greatest defence is the connection we find in one another. Love and relationships become a means of survival. Perhaps that’s the secret to the band’s increasingly mass appeal, that beneath all the darkness, there’s still something worth holding on to.
Of course, Chatten would be considerably less compelling without the band surrounding him and Dopamine Chamber is at its best when Fontaines D.C. operate as a cohesive collective. Their greatest songs are grand musical offerings where the contributions of every member intertwine in ways that reward repeated listens. Less is more has never really been an approach that suits these guys and the new material reinforces that point. Synths, bass, drums, keys, and guitars are constantly battling for your attention, yet somehow remain perfectly in sync. The result is an expansive darkwave sound that feels both claustrophobic and cinematic with the influence of New Order, The Cure, and Depeche Mode impossible to miss. There’s an almost weightless quality to the best tracks with layers of instrumentation creating a dark atmosphere that never sacrifices the band’s underlying mystic. You can feel the creative decisions being made by each member. Deep bass pushes against drumming patterns, synths cut through at a wide register of pitches, and guitars wade over the arrangements to tie it all together . When all those elements click Fontaines D.C. sound like a band operating on a different level from their peers. They’re not interested in making the same record twice and that willingness to embrace the unknown will always earn my respect.
Unfortunately, the track layout is where Dopamine Chamber begins to lose some of its momentum. The front half is near perfection in practically every facet delivering an intense collection of ideas, textures, and emotional shifts. The early run of songs constantly gives you something new to latch onto whether through Chatten’s vocal experimentation or the daring interworking between the band members. The second half still has plenty of charming moments but the difference in quality is noticeable. It feels a shade incomplete almost as if the buzzer sounded before the band had finished developing the idea. The issue isn’t that these tracks are bad, in fact far from, it’s that they strip things back to a more subdued string of offerings just when you’re craving another emphatic left turn. After such an adventurous opening stretch the reduced risk taking feels like a missed opportunity.
The best analogy I can offer is Dopamine Chamber is a roller coaster. You keep coming back for the immediate sensation of the 400 foot drop and triple inversion loops. Banked turns and rolling hills have their importance that make it all work, but there is a noticeable difference from the climactic experiences that came before. Still, we emphatically return craving a thrill.
Dopamine Chamber is another example of Fontaines D.C. willing to risk alienating listeners rather than settle into a comfortable formula. The payoff is immediate and rewarding. Most importantly, the record’s bleak outlook never entirely lets go of the belief in human connection.
Overall Rating: 8.1/10
Favourite Song: Mimesis
REID
The evolution of Too Sweet Reviews brings new pleasures as the weeks, months and years slip off the calendar. We all get excited about releases from our favourites but the most satisfying efforts of this blog still come from unearthing hidden gems. We did just that two years ago when we hopped on the hype train and reviewed the latest from the rising stars from Dublin; Fontaines D.C. We sang our praises for the critically acclaimed Romance (2024) which simultaneously elevated their standing in the music world and expectations and anticipation for what was to come next. Those two years flew by and we’re already back with Dopamine Chamber.
Before I dive into the new material, another one of those delights is revisiting our old thoughts to see where we got it right, wrong or simply how it aged. Below is a quote from my 2024 review:
‘Bug is my favourite of the eleven tracks, reminiscent of the classic sound from UK pioneers, Oasis. Fitting seeing how they just announced their reunion and 2025 world tour. I wonder what Liam would have to say about FDC? Tough guy to please and unpredictable at best but I like to think he’d be impressed.’
Well, I could not be more wrong on this one! Below is a screenshot of a quote tweet from Liam on October 21, 2026, following this album’s release. I should’ve known better LOL.
Life in 2026 is so strange. Donald Trump makes a mockery of the most prestigious government on National television every single day. Declassified files have been released hinting at the existence of alien life. The Epstein files suggest the elites live by their own set of rules and the entire system caters to them. War crimes are witnessed via live stream. Artificial intelligence continues to grow exponentially despite the red flags. Every day we inch closer to the predictive programming of those Black Mirror episodes. Maybe strange isn’t the right adjective. Mysterious. Fascinating. Terrifying. Take your pick. I can tell you how it feels to be living in the moment; powerless. No matter how inhumane or severe the topic is, it doesn’t seem to matter what the general public wants. Nothing. Changes. What do we all do instead? Slip back into the comfort of our dopamine chambers and go on with our lives. Grian Chatten and the FDC crew explore the harsh realities of modern life and that’s what will stick with me about this record.
That feeling of helplessness is portrayed immediately by the album’s opening sentence.
Six shot morning, it’s a beautiful world.
Whether in relation to war or a school shooting, we’ve all been there. Wake up to terrible news, scroll on by because there’s nothing we can do and move on with our days. Nothing ever changes. We all become increasingly numb to the atrocities happening around us and sink further into the echo chamber algorithms that collect our thoughts to drive engagement and profit. We’re trapped in a toxic dependency, a digital addiction that consumes our lives more as time passes. Your smile comes out of my pocket, Gratten sings on You Miss Me, describing a relationship failing in part due to emotional detachment. The only thing that makes his partner happy comes from his phone. While all of this is troublesome for today’s population, the real fear is in extrapolating this to future generations. We are progressively tied to technology under the guise of convenience and efficiency. It’s critical for us to understand the price of those benefits.
Alright, alright. This is a music blog, I know. But FDC deserve a ton of credit for putting their platform of influence to good use. Julian Casablancas of The Strokes did it this year on Reality Awaits. Phoebe Bridgers introduced a no-phone policy at her concerts, following a trend set by Kate Bush, Jack White, Bob Dylan and others. These folks are role models for millions. Their words and actions hold significant meaning to the minds they play a part in shaping. At 31-years young, Chatten’s message is important for listeners of all ages.
In addition to an album with clever and meaningful songwriting is the futuristic, hellish atmosphere they create with their sound. It opens with harrowing bass and retro synths and doesn’t look back with Chatten’s baritone vocal soaked in reverb. The band that entered the scene as post-punk should be applauded for taking another artistic leap with a sonically ambitious effort. They even had their first guest feature with Spanish singer-songwriter Rosalia on Where Is Gone?
In last week’s review of Pop star by Tinashe, Lundi did an excellent job explaining the struggles of subjectivity when attempting to be critical. This week, yours truly is the victim. Despite the overwhelmingly positive remarks above, I have a difficult time connecting with Chatten’s vocal. There are times I’ve been critical of singing voices that lack passion, talent or otherwise but that’s not it in this case. The best way I can describe it is that how he emphasizes syllables in his thick Irish accent just doesn’t do it for me. It’s an unfortunate detractor. Perhaps the vocal is an underlying reason for this but to me the album lacks replay ability and is ultimately good, not great.
Blade Runner 2099 soundtrack, look no further. Fontaines D.C. got you covered with dystopian, space-age soundscapes. Grian Chatten and crew use their sphere of influence in an attempt to bring us closer together compared to the technology that is driving us apart.
Overall Rating: 7.5/10
Favourite Song: Six Shot Morning