When I first heard Divorce’s self-titled EP back in 2022, it felt like a raw, jagged artefact from a band who had only just begun scratching the surface. Fast forward to now, and their debut album ‘Drive to Goldenhammer’ arrives as a confident, richly textured evolution—one that affirms what many of us quietly suspected: this band is on to something special.
Formed in the East Midlands, and comprised of dual vocalists Felix Mackenzie-Barrow and Tiger Cohen-Towell, alongside Adam Peter Smith and Kasper Sandstrøm, Divorce have never been easy to pin down. Their sound swerves between indie rock, country-tinged balladry, and avant-pop mischief without ever feeling disjointed. That ability to shift shape without losing coherence is what makes ‘Drive to Goldenhammer’ such a rewarding listen.
The album takes place in Goldenhammer, a fictional town of the band’s own making—a composite of faded British seaside resorts, crumbling estates, and haunted nostalgia. It’s less a concept album than an emotional map, a place where you can trace the scars of heartbreak and reinvention, all delivered with sly humour and sharp songwriting. It’s this surreal yet grounded atmosphere that allows the record to feel both disarmingly personal and curiously universal.
Tracks like “Old Broken String” and “Antarctica” lean into a quiet, aching nostalgia, evoking the same kind of emotional disorientation as stumbling upon a forgotten photograph in a drawer you don’t remember closing. Both highlight the vocal interplay between Cohen-Towell and Mackenzie-Barrow, whose dynamic never feels forced—each voice complements the other without fighting for space. There’s a sincerity to the way they trade lines, never resorting to theatrics to be heard.
Then there’s “Pill”, arguably the record’s emotional nucleus. Here, the band reaches new heights in both composition and performance. The instrumentation swells and contracts with cinematic tension, while Cohen-Towell delivers a vocal that’s both fragile and furious. It’s a visceral track—wounded, but never weak.
For those craving something more playful, “All My Freaks” and “Karen” provide welcome relief. The former is a wonky, synth-laced anthem that skewers egotism in the music scene with tongue planted firmly in cheek. The latter blends slacker rock with biting satire, painting the titular character with as much empathy as exasperation. And yes, “Karen” includes a lyrical nod to Doncaster that lands like an inside joke only Divorce could tell.
Throughout, producer Catherine Marks (known for her work with boygenius, Wolf Alice, and Foals) ensures the album maintains a sense of sonic cohesion, even as it veers into unpredictable terrain. Her touch allows each song to breathe without smoothing over the album’s deliberate rough edges. The sequencing, too, deserves praise—there’s a natural flow to the record that rewards a full listen, culminating in the triumphant closer “Mercy”, which leaves a lingering sense of catharsis.
This isn’t just a promising debut—it’s one that feels fully realised and fiercely intentional. Divorce aren’t interested in neat categories or algorithmic polish. Instead, they’ve crafted a body of work that wears its contradictions proudly: tender yet cynical, chaotic yet composed, strange yet familiar.
And while it’s tempting to file ‘Drive to Goldenhammer’ away as an early contender for those inevitable year-end lists, that framing feels reductive. This album doesn’t care about accolades. It cares about telling the truth—awkward, funny, and painful as that may be—and doing it in its own distinct voice.
We’re not just passengers on this drive to Goldenhammer. We’re fellow travellers, wide-eyed and unsure, watching the landscape shift around us and wondering what comes next.
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