Review: Divide And Dissolve ‘Insatiable’
In their decade of existence, Divide And Dissolve have gone from one of doom metal’s most intriguing acts to one of its most revered, all the while breaking down pretty much every stereotype one might associate with the genre. The one element of doom that really matters is the one they have always utilised, and that is the immortal guitar quadrant: low, slow, loud and heavy. It’s a sound that, when balanced against its polar opposites, has the ability to make one feel something truly incredible, and it is this which is more important than ever on Divide And Dissolve’s fifth full-length Insatiable.
Their visceral debut album Basic set the tone for a fantastic run of three subsequent records. Abomination, Gas Lit and Systemic all followed a similar formula and template, but with subtle musical progressions on each one. Individually, they explored a different perspective on the overall themes of Divide And Dissolve’s music: erasing colonialism, destroying white supremacy, and fuelling an energy for people to fight against these systems. Despite their instrumental nature, the albums didn’t just rely on their spoken word pieces to display the message, instead, evoking these themes through the dichotomy of ferocious, raw doom metal and ethereal, neo-classical woodwind.
With Insatiable, they have changed their template somewhat, finding a way to continue their musical progress while at the same time maintaining the very familiar aspects of their sound. As such, this record feels like their most wholesome and expansive record yet.
The most notable and immediately obvious progression comes in the form of, what sounds like to me at least, an actual bass guitar. Not that Divide And Dissolve’s music lacked bass before, but previously the sound had felt like layers of a single guitar rather than multiple separate instruments. It’s a small change, but it makes a huge difference and allows the guitars to cut through with more intensity and vibrancy, without losing their distinctively percussive and slightly twangy tone. There is also a noticeably better balance between the guitars and drums that provides a touch more nuance within the ferocity.
You really feel this in tracks like Monolith, Dichotomy and Provenance. They emanate with gigantic, spacious and brutally heavy riffs that, despite their simplicity, have a truly infectious quality to them. Tracks like Withholding, Disintegrate and Holding Pattern manage to rid all the negative connotations which might normally be associated with the words slow, droning and repetitive. Some of these riffs also feel distinctively more intricate than before, and I even hear some melodic influence from depressive black metal in the cascading arpeggios.
gigantic, spacious and brutally heavy riffs that, despite their simplicity, have a truly infectious quality…
The neo-classical pieces led by the soprano saxophone are as otherworldly as ever, full of looping layers of tone and melody that build and plateau. These pieces have often acted as introductory parts, such as on Monolith, but perhaps inspired by their recent live collaboration with the BBC Radio Orchestra, Takiaya Reed now gives some complete tracks from this side of the sound. Opener Hegemonic has a soft backdrop to dramatic operatic vocals, while the closer Death Cult is a ball of pure melancholia. Loneliness has a beautifully complex melody which, like the feeling it describes, seems always to be at the edge of some feverish energy.
It’s rare that the two sides to Divide And Dissolve’s sound overlap into each other but when they do, as on the phenomenal Provenance, it creates something truly magical. It is arguably the best and most fulfilling track on the record.
There is one outlier within the track list, the short but beautifully atmospheric Grief. Ambient synths and (for the first time) Takiaya Reed’s own voice combine wonderfully into a haunting moment of sorrow. The words that are sung are simple but deeply personal, and whilst its brevity might leave you wanting more, it still has quite the impact.
Divide And Dissolve’s themes have always been inherently connected to Takiaya’s identity, so there has rarely been a decipherable distinction between the personal and the socio-political. Insatiable is no different in that respect, but it does feel like we are given a glimpse into the person beyond the voice of repression.
That voice is so important and just like on previous albums, the overwhelming feelings which Divide And Dissolve evoke are ones of anger, frustration and weariness with a system which continuously represses those who exist outside its narrow identity constraints. But the stunning duality of the music, one that is pushed further than it has ever been before, means that for all the gloom, there is an equal amount of resistance. A force urging one to push back and not accept societal repression. An Insatiable spirit that will always find a way to be expressed.
Label: Bella Union
Band Links: Official | Facebook | Bandcamp | Spotify | Instagram
Scribed by: Will J
