Review

In a world where genre-bending has become the norm, Nottingham’s Divorce have crafted a debut that both revels in and transcends the chaos. Drive to Goldenhammer is a stunningly self-assured first outing that captures the raw emotional depth of alternative country while flirting with indie rock’s jangly edges and folk’s storytelling charm. From the opening track, “Pretty,” the band sets the tone with Tiger Cohen-Towell’s haunting vocals cutting through a dreamy yet melancholic soundscape. Felix Mackenzie-Barrow’s harmonies weave effortlessly, creating an atmosphere that’s as tender as it is tumultuous. Tracks like “Heady Metal” showcase the band’s knack for balancing delicate lyricism with grungy instrumentation, while “Goldenhammer” delivers a soaring chorus that feels destined for festival fields. The album’s production, helmed by the formidable Catherine Marks, allows each layer of sound to breathe, capturing the intimacy of The Calm Farm studio in North Yorkshire. Lyrically, Divorce delves into themes of self-discovery, heartbreak, and the often-fraught navigation of personal identity. The title track’s vivid storytelling evokes the golden glow of a fading summer, while “Sex & The Suburbs” taps into the existential ennui of small-town life. Despite being a debut, Drive to Goldenhammer feels remarkably mature, with the band confidently blending influences from Wilco to ABBA without ever sounding derivative. It’s a record that captures both vulnerability and defiance, delivered with an authenticity that’s becoming increasingly rare in today’s musical landscape. While the album’s chart performance remains to be seen, its critical reception has been overwhelmingly positive, cementing Divorce as one of the UK’s most promising new acts. If this is just the beginning, the future looks golden indeed.