You could argue this ad nauseum if you desired but Divorce do stand out from the crowd and as a result sound refreshingly unique on their debut album Drive to Goldenhammer. It’s this approach that the band hope will impact most, on their own terms.
The album's title alludes to an aspirational journey toward an imagined sanctuary. Guitarist and vocalist Felix Mackenzie-Barrow describes Goldenhammer as "a home that doesn’t really exist," representing the band's collective pursuit of an idealised refuge beyond their immediate surroundings. This theme of seeking and transformation is woven throughout the album, offering listeners a cohesive narrative that resonates on multiple levels.
On the most immediate album song "All My Freaks”, a vibrant, synth-infused track that satirizes the egotism prevalent in the music industry, the band parodies the rise of a fictional up-and-coming artist to tragi-comic effect. It serves as a playful critique of the industry's often absurd dynamics. This self-aware approach not only showcases the band's wit but also their ability to tackle serious themes with a lighthearted touch.
"Pill", is another song that exemplifies Divorce's genre-blending prowess, seamlessly transitioning through various musical landscapes, incorporating agitated guitars, contemplative strings, and a poignant piano interlude. Vocalist and bass player Tiger Cohen-Towell has noted that it explores themes of sexual awakening and the exhilaration of being truly seen, reflecting personal experiences that add depth to the track. The unconventional arrangement and dynamic shifts within the song highlight the band's commitment to pushing creative boundaries.
Following a series of teasing tracks, EPs and blistering live shows going back to 2021 the bands debut long player is a wider canvas to exhibit their versatility. Cohen-Towell's expressive vocals and bass lines provide a solid foundation, while Mackenzie-Barrow's guitar work and vocal harmonies add further richness to the sound. Guitarist Adam Peter Smith's deft guitar and synth playing and Kasper Sandstrøm's dynamic drumming injects energy and precision into each track. Combined they create a cohesive unit that thrives on collaboration and diverse, talented scope.
The production of Drive to Goldenhammer, helmed by renowned producer Catherine Marks (Boygenius, Foals, and Wolf Alice), preserves the band's raw energy and authenticity while adding a structure and space to their ambition. Together they achieve the tightrope balancing act of retaining the quirks and charm of the bands initial ideas while ensuring the final results, however polished, retain that chime of spontaneity and impulse.
Divorce explore complex themes whilst maintaining an approachable tone. “Fever Pitch”, “Hangman” and “Where Do You Go” in particular inhabit their own worlds, dramatic vignettes playing out in real time whilst propelling the whole album forwards. The variety of sounds, the alt-country sensibilities, pop theatrics and an eclectic mix of influences feels invigorating and experimental yet accessible. While Drive to Goldenhammer is a commendable debut, there are moments where the band's ambitious genre-blending could benefit from more cohesion. Some tracks traverse so many musical terrains that they do risk losing a sense of unified direction. However, this exploratory approach also exemplifies Divorce's fearless creativity and willingness to take risks, qualities that are likely to endear them to a diverse audience.
The band’s artistic vision is undoubtedly compelling. The album's rich tapestry of sounds and themes invites listeners on a journey that is as thought-provoking as it is enjoyable. Drive to Goldenhammer sees the quartet plant strong roots and demonstrates that their combination of talent, originality, and introspection has the potential to journey anywhere they wish.
