LeftLion's Latest Listens #17 special edition: Divorce

You can feel this warm embrace in the dual-vocalist’s emotionally honest and open-hearted singing. The opener, Antarctica belongs to Mackenzie-Barrow, whose voice initially recalls the careworn strains of Bon Iver, albeit with a grit that befits the earthy rock that develops through the record.

Lord follows, introducing Cohen-Towell, her voice hewing close to the melody on this more straightforwardly toe-tapping, indie-laced song. The repeated refrain of 'I just need a little sugar' is shared by the two singers, representing that desire for connection that becomes something of a driving force over the 12 tracks.

It’s in Fever Pitch and Karen that Cohen-Towell’s voice reveals it’s remarkable elasticity. Able to stretch out at will, diving and wheeling with flecks of savage hope, luxuriating in the spacious sonic landscape created by the band. It’s deployed smartly throughout the album, the frequent restraint only making those moments of raw power more effective. 

The startling, tear-your-shirt-open-in-the-rain Karen transitions beautifully into the scratchy, smirking Jet Show: "You came for the Jet Show, this one’ll melt your face off..." Its snarling confidence suggests an alternate version of this band that settles for more direct melodic structures. 

But settle they do not. As the album unfurls, the band’s mission statement becomes clearer and it’s obvious that they are not simply content to revel in the catchy. Instead they chase ideas, staying with a sound or a feeling for a few moments, following it before flitting to another inspiration. It’s as though they are ever in search of exactly the right way of communicating themselves. That they make it feel like this is happening in real-time is testament to the songwriting nous of the band and reflective of the underlying cohesion that glues the album together.

Thematically, the album is imbued with a tension between emotional optimism and the vulnerability and hurt that follows to those who leave themselves open with naivety. This is true of the lyrics, which are frequently disarmingly frank and heartfelt. Hangman’s "I care about you already, I wanna lift you up" catches you off guard with its upfront, almost defiant sweetness. 

Conversely, the broodingly lovely acoustic closer Mercy describes a sharper, cloudier edge of that same desire: "It’s been a long time dreaming of you and your pocket-knife / There’s blood on the wall, I will help you clean it all." Yet this beautifully intimate song can’t help but revert to that stubborn vein of hopefulness that courses through the record; "we put our raincoats on and watch the clouds roll by", painting a picture of a love so charming in its mundanity you can’t help but wish to be sat upon that hill in the rain.  

A four-night residency at our very own and very beloved Bodega, along with tours with Bombay Bicycle Club and Everything Everything have clearly allowed Divorce to recognise and - in this album capture with great success - the frenetic energy and intense connection of their live shows. These are feelings that suffuse Goldenhammer, permeating every texture, glinting off every facet. It’s a gift that few bands are able to harness, let alone in their debut, and the sheer confident exuberance of this release signals that great things await. 

Similarly, the warmth and hope that emanate from these songs are reflective of their hometown; a city in which so much beauty shines, even in the mundane every day. Divorce will surely find the heady escape they yearn for, and the indications are that the ride will be well worth following. This is one Nottingham can be proud of. 

Divorce perform in-store at Rough Trade Nottingham on 10th March.

@divorcehq