For a debut album, Drive To Goldenhammer has surprisingly big shoes to fill. Since forming in 2021, Nottingham quartet Divorce has made an impression since day one. Every single they’ve dropped thus far has been, frankly, nothing but excellent. Their singular brand of impassioned alt-country earned national airplay and press from the get-go. Their busy touring schedule has already cultivated a loyal fanbase. While many newer groups put their own stamp on preexisting genres like shoegaze and dream pop, Divorce’s off-kilter songwriting feels even fresher. So, was it worth the wait? That’s a big yes from us.
At 12 tracks long and produced by Catherine Marks (boygenius, Wolf Alice, The Killers), the album flows seamlessly, and the production is top-tier. Marks’ background in indie-folk and rock perfectly captures Divorce’s loud/quiet dynamics. The mix is punchy but never overbearing, allowing all the subtle melodic touches to breathe.
Existing fans will be surprised at the absence of some of the group’s most beloved numbers, though. “Checking Out,” “Services,” and “Scratch Your Metal” are nowhere to be found. Instead, Divorce opts for a completely fresh batch of songs. Artistically, it’s a decision I can get behind, but not using “Checking Out” as an anthemic closer seems like lunacy.
Luckily, what we’re left with is still first-rate. The interplay between Tiger Cohen-Towell (bass/vox) and Felix Mackenzie-Barrow (guitar/vox) remains magical, the duos’ vocals alternating between a sense of longing and frenzy. Add in Adam Peter Smith’s guitar and synth work and Kasper Sandstrøm’s thoughtful drumming, and you’ve got a unit of undeniable, offbeat power.
Divorce’s strength lies in their ability to suck the listener in with familiar sonics—only to disrupt them with something slightly off. A guitar line that’s too wonky, a love-lorn lyric that’s a little too dark—these are not indie bangers. They’re delirious little critters intent on becoming earworms.
“Fever Pitch” makes a compelling case in point. Lines like “It’s tender / but a parasite / I’ve seen the living lights in you / unstuck myself / go fuck myself” would fit perfectly roared over emo guitars and thundering drums. But Divorce delivers such imagery over the dreamiest melody on the album. It’s a psychedelically beautiful song, held together by Cohen-Towell’s confident bass, keeping the whole thing from disintegrating into a hypnagogic mess.
“Jet Show” flexes the group’s muscles, the quartet delivering three and half minutes of bruising, country-tinged rock. Meanwhile, the lead single “All My Freaks” remains one of the band’s best songs to date. It’s a glossy, anthemic number led by ‘80s guitars glitchy enough to elevate it well above the usual indie fare.
All in all, Drive To Goldenhammer is a damn fine debut that captures the band’s strengths and eccentricities well. One or two of the tracks could have been swapped for earlier material—I’m looking at you, “Pill”—but every song on the album showcases the band’s talents differently. As debut releases go, it’s confident, thoughtful, and demands many listens to appreciate fully. Divorce remains an undeniable force and one of the UK’s most electrifying new voices.