“Sometimes warmth is something you need to create for yourself,” vocalist and guitarist Felix Mackenzie-Barrow previously remarked when talking about their debut album 'Drive To Goldenhammer'. He continued, “The world is growing increasingly harsh, and you must seek out pockets of warmth. We aimed for this album to be one of those pockets.”
Based in Nottingham, the band Divorce also includes Tiger Cohen-Towell (vocals/bassist), Adam Peter-Smith (guitarist), and Kasper Sandstrom (drums). They met through a close-knit music scene. Initially, Cohen-Towell and Mackenzie-Barrow performed as a duo, while Sandstrom played with and still collaborates with the post-punk band Do Nothing.
The band's EPs ‘Get Mean’ and ‘Heady Metal’ attracted attention from fans and the industry alike. Their debut was highly anticipated upon its release, featuring a tracklist rich with genre-blending, introspective songs that explore identity, personal growth, and belonging. The title 'Drive To Goldenhammer' is derived from a fictional place that reflects the culture of the East Midlands.
Felix Mackenzie-Barrow took a moment to address a few questions about the album amidst a busy touring schedule.
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‘Drive To Goldenhammer’ was demoed over a year at The Calm Farm in North Yorkshire, capturing all four seasons. How does the album reflect this, and was it crucial for you to have a single location to revisit for this purpose?
We gained a lot from the tranquility the farm provided. Although we were only there for four days at a time working diligently, the absence of distractions was almost complete. We could focus solely on our work.
The fact that it was created over about six months allowed us to let things develop naturally. Some songs we introduced later in the process were more intentionally crafted to fit within that environment.
What did you want the album to convey about home?
We didn’t aim to make definitive statements, but over the years, we’ve discovered that the concept of home is fluid. This understanding emerges subconsciously through our work; we never start with grand ideas.
The opener ‘Antarctica’ describes a drive where you nearly hit a newborn calf. Why are you particularly attracted to symbolism in storytelling, especially the blend of innocence with darker moments?
As songwriters, we believe everything we experience carries significance if we remain open to it. Again, I don’t think it’s a conscious choice; I felt compelled to tell that story exactly as it unfolded, so I did.
‘All My Freaks’ addresses the delusion necessary for an artist's survival, likening the music industry to a “slumber party.” What led you to this comparison? And when writing about the music industry, was there anything novel about expressing such a niche experience?
The music industry is inherently absurd. Most of us have spent a significant part of our musical journeys being overlooked by it, which makes its silliness more evident. I’m not sure it’s that niche since it follows a well-established path: if you create something, whether it’s music or otherwise, it gets commodified if the market chooses to support it. People prefer to back a winning horse.
What were some of your favorite quirks you noticed while working with renowned producer Catherine Marks? What aspects of her style suited the project?
None of us had worked with someone so intensely devoted to the craft. She approached every aspect with precision, seriousness, yet also a sense of lightness and openness, creating a warm atmosphere that made the studio feel playful.
The song ‘Hangman’ stems from your experiences in care work, touching on selflessness. While this may have been emotionally and physically draining, it sounds like it was quite a transformative experience for you. How did you maintain your creativity through it all?
It was incredibly transformative, forcing me to learn new communication methods and to maintain a state of calm alertness over extended periods. The creative barrier was primarily a matter of time—long work hours made it challenging to write. However, I often felt very creative because I was facing constant challenges and experiencing intense, urgent situations.
The song ‘Lord’ explores Tiger’s first queer relationship. The line “I’m a seahorse and I need a little sugar” is wonderfully tongue-in-cheek, given that seahorses are saltwater fish but here are looking for their sugar rush. Why did this comparison resonate so well?
The seahorse motif emerged frequently during the writing process. It seemed to capture the oddity and fragility of life, which we wanted to explore. We wrote the lyrics for the chorus together, and I remember that seahorse sugar line coming to me spontaneously—it just fit. I hadn’t considered the saltwater aspect—good observation!
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‘Drive To Goldenhammer’ is available now. For all Divorce tour dates, please visit their website.
Words: Emma Way Photo Credit: Flower Up & Rosie Sco
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