No one creates a racket quite the way Divorce does, and they remind me of it every new single that comes my way. This one on Night School Records has a really thick screened heavy cardstock foldover, which was stuck on the inside to a heavy mylar, almost picture disk outer sleeve with a Divorce sticker....making this homemade as hell...a big tear line down one side of the printed sleeve, really great work in making this one stand out.
There was a time when bands like Lightning Bolt, Hella, SIDS and Diet Cola were all I wanted to listen to, at the time it sounded like the most forward looking, original direction for any genre to be attempting...I think if you follow this line of thought you get your Abe Vigoda and Mika Miko, combining that heavy rhythm hardcore noise into punk pop and when Divorce ended up on my radar a little while ago, it brought all that kind of early extremist stuff back for me.
I'm trying to think about what it is about this sound that doesn't get old and a lot of it is the live show so I suppose another branch of the Lightning Bolt tree is some of the glitch electronics stuff like, Dan Deacon in terms of how downright fun and original seeing a band live can be.
But back to Divorce, who all at once take a pure love of hyper rhythms, experimental guitar and Jennie's vocals which are surprisingly clear rising over the weird guitar screechings, the entire fretboard played high to low as a single note on A-Side's "Love Attack". Now that I'm hearing this back to back with yesterday's Aids Wolf, there is a pretty clear connection I never made, Jennie is also coming up with entirely new melody lines for her vocal, even given this solid foundation of pummeling tom beats and gestural distortion, she won't follow any sort of predetermined line, instead reminding me of The Coathangers or White Lung's unique, singing-spoken word style...the difference between Aids Wolf is there's still lyrics here, even if a lot of it is lost in this aggressive chaos, sometimes yelling, but the consistent hollow pop of the snare keeps it headbanging.
B-Side's "Meating" continues to step up the beat, they're really pushing themselves in marrying various strong rhythms together successfully. Jennie also has to be as strong and straightforward as Vickie's riffs and crazy timing drumming. There's nothing timid in any part of it's performance and creation. There's nothing like that combination of shaking tom and kick, single note low end bass and Vickie's growl. There's not much else to say. Someone get a kickstarter together or something to book them in NY. I selfishly want to see them break some ceiling tiles at Death By Audio.