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Divide and Dissolve — Systemic (Invada)
Photo by Su Cassiano
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Divide and Dissolve continues to provoke, even if some of the questions are becoming a bit familiar: Can instrumental music express a politics? Is there anything intrinsically subversive in the fact of women of color making heavy music? Is doom metal the right (sub)cultural space for indigenous-identified women wishing to promulgate a socially conscious, anti-colonial agenda? Systemic doesn’t provide any evidence or assertions that will settle those issues, even as the band’s public-facing discourse and promotional chatter strike ever more righteous rhetorical stances. This reviewer is down for the politics. The music is a more complicated proposition.
Doom metal is conventionally possessed of feeling tones that seem suited to Divide and Dissolve’s project: misery on tectonic scales, anger that smolders and simmers and then erupts into sudden conflagration. Other bands have coupled that tonal range with left-leaning socio-political messaging; for recent examples, see Forlesen’s ecologically minded folky doom, or Mordom’s application of glacially paced bum-out music to the problematics of dope addiction. Even more relevant are many of the records released by the Body over the last fifteen years — see especially No One Deserves Happiness (2016) or many of the cover songs compiled on Anthology (2011). Somehow the political content of the Body’s music is both more and less didactic than what Divide and Dissolve has succeeded in articulating, and certainly it’s a lot more compelling, aesthetically and ideologically.
That’s not so damning a criticism, given the Body’s excellence, which is tough for any band to compete with. But it’s worth noting. Divide and Dissolve gets most didactic on Systemic with “Kingdom of Fear,” which includes a spoken word performance from poet Minori Sanchez-Fung. Over the band’s cool drone and occasional stirs of noise that evoke Earth’s more recent work, Sanchez-Fung intones, “In the kingdom of fear, a shadow hovers over my cover of leaves and violets,” and later, “I have pleaded to consult the chorus of night, to hold the strands of moon that tether me to beauty and let me rest.” The language isn’t straightforward enough to stir politicized passions, and while the images sustain a reading that underscores women’s productive powers, they collapse into an earth-mother symbolics that feels dated and a little soft, when a more militant response seems necessary to confront the injustices attending our current conjuncture.
The record is better when the music does the talking, as it usually does for Divide and Dissolve. “Indignation” commences with a couple minutes of woodwinds, interlaced and gesturing toward symphonic textures, performed by Takiaya Reed. The inevitable, deafening entrance of Reed’s guitar sounds simultaneously like explosion and collapse, which is not easily done, and which is a fitting sonic complement to indignation: the emotion moves toward the world with aggressive rage, and also back into the person feeling indignant, who insists on the overriding validity of her feeling, her ideas, her sense of fairness. That’s the sort of interest that Divide and Dissolve is capable of generating.
Of course, none of that relative complexity controls what a listener might tend to feel indignant about. Tune into the various permanently outraged talking heads on The Daily Wire, for instance, and you’ll hear a whole lot of indignation: Matt Walsh’s moronic (and always creepy) reactionary chatter about the status of the noun “woman,” or Candace Owens’ latest bit of semi-coherent clickbait (this reviewer was particularly grossed out by her defense of the cause of the American Confederacy on putative social class terms). Perhaps doom metal would not be the first choice to soundtrack those bits of rightwing bilge — but I can hear Moonsorrow’s insipid, Viking-obsessed, musical muscle-flexing whenever Walsh or Josh Hawley start yip-yapping about masculinity.
But that’s me. Music’s nonrepresentational access to feeling may be its most distinct and its most powerful aesthetic property. In that aforementioned promotional chatter, much is made of Divide and Dissolve’s investment in the unifying power of non-verbal communication, and the undervalued extent of that non-verbal communication’s presence in our lives and experiences. But the non-verbal is still socially constructed and patently representational. See the recent transformation of the thumb-to-forefinger “OK” sign into an emblem for white power, which occurred through the functionality of social media-driven symbolics. Divide and Dissolve make heavy music, and these are indeed heavy times. To intervene effectively, the heaviness may need the iterative and representational power of the verbal. And when it’s invoked, that language may need to be political, focused and forceful.
Jonathan Shaw
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Intro. 00:00
Wojciech Golczewski-Otherworld 00:41
Survey Channel-Moss Tilt 03:39
Subphotic-The Sitting Tree 05:12
Chapter 1 12:26
Drapizdat, Reather Weport-Pattern #5 14:59
Minimal Drone*GRL-Lady Of The Mountains 17:56
Hyperlink Dream Sync-Galaxy Structure 22:42
MiDi BiTCH-Unearthly 26:48
Panama Fleets-Zealandia 31:25
Abu Ama + BedouinDrone-Leptis Magna 35:41
Chapter 2 49:03
Lo Five-Unbecoming You 50:58
Time Rival-Redox 55:41
Eje Eje-Saved From The Jazz (Spring) 58:26
Hello Meteor-Waterproof Thoughts 1:01:57
S U R V I V E-Hourglass 1:05:28
Depeche Mode-Don't Say You Love Me 1:09:48
Chapter 3 1:13:19
Vic Mars-Holloways 1:14:59
Pabellón Sintético-Ludwing 1:19:32
Joel Grind-Fallen Metropolis 1:28:27
ATA Records-Pineapple Diode Daiquiri 1:32:18
Mary Lattimore, Roy Montgomery-Blender in a Blender 1:34:45
Off Land-Numbers Station 1:41:04
Chapter 4 1:47:42
Robohands-Palms 1:49:33
Conflux Coldwell-Earth Sea and Sky 1:52:17
Outro 5 1:57:20
Album of background soundscapes by me
#Wojciech Golczewski#Invada#Survey Channel#Music Is The Devil#Subphotic#Drapizdat#Reather Weport#Not Not Fun Records#Minimal Drone*GRL#Bricolage#Hyperlink Dream Sync#Fonolith#business casual#MiDi BiTCH#Cyclical Dreams#Panama Fleets#Abu Ama + BedouinDrone#Mahorka#Unexplained Sounds Group#Lo Five#Castles in Space Subscription Library#Castles In Space#Time Rival#Triplicate Records#Eje Eje#Batov Records#Hello Meteor#S U R V I V E#Holodeck Records#Depeche Mode
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Track of the day // Billy Nomates - saboteur forcefield
From the album CACTI, out January 13th.
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Album Art for:
Gazelle Twin & Max de Wardener - The Power (Invada, 2021)
#album art#album covers#cover art#Gazelle Twin#Max de Wardener#The Power#Invada#2021#women in electronic music
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ON THE RADAR: INVADA
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TODAYS ARTIST SPOTLIGHT COMES FROM A FLOODTHEWEB A&R. CHECK OUT THIS NEW ARTIST. THE INVADA ON THE RADAR FREESTYLE.
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New Video: Divide and Dissolve Share Trippy "Want"
New Video: Divide and Dissolve Share Trippy "Want" @dividedissolve @invadauk @another__side__
Melbourne-based duo Divide and Dissolve — Takiaya Reed (sax, guitar) and Sylvie Nehill (drums) — have long been focused on Indigenous sovereignty: Reed is Tsalagi (Cherokee) and Black, Nehill is Māori. As a duo, they released two albums 2017’s Basic and 2018’s Abomination through DERO Arcade before signing with Invada, who released their widely acclaimed third album, 2021’s Gas Lit. Gas Lit Remix…
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#DERO Arcade#Divide and Dissolve Abomination#Divide and Dissolve Basic#Divide and Dissolve Blood Quantum#Divide and Dissolve Gas Lit#Divide and Dissolve Indignation#Divide and Dissolve Systemic#Divide and Dissolve Want#instrumental#Invada#Low#Melbourne Australia#music#music video#New Video#Sepi Mashiaof#video#Video Review#Video Review: Divide and Dissolve Want#Webster Hall
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[Video] Billy Nomates mit neuem Song “spite” inkl. Video!
Billy Nomates beweist mit der neuen Single “spite“ erneut, wie wunderbar Punk-Attitüde und Texte über Selbstermächtigung mit zugänglichen Melodien und Pop-Appeal zusammengehen. Ihr neues Album ”CACTI“ erscheint am 13. Januar über Invada Records und ist gespickt mit emotional aufwühlenden Texten und einem Sound aus simplen Drumcomputer-Beats, kantigen Gitarren-Riff und fiependen Synthies – und klingt dabei teilweise verblüffend poppig.
Mit “I know you think you hold all your power over me but you don’t / Only I hold power over me” beginnt Tor Maries, wie Billy bürgerlich heißt, den Song und wartet nicht lange um mit Sätzen wie “Don’t you act like I ain’t the fucking man” nachzulegen.
Dazu erklärt sie: “How are you going to deal with anything if you don't have that self-belief?”
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Billy Nomates live:
28.03.2023 CH-Zürich – Bogen F
29.03.2023 München – Milla
31.03.2023 Berlin – Badehaus
02.04.2023 Hamburg – Molotow
04.04.2023 Köln - Blueshell
Booking in D: Goodlive
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Kyle Dixon & Michael Stein - Stranger Things 2 | Invada Records | 2018 | Clear with Blue & White Splatter
#kyle dixon#michael stein#stranger things 2#invada records#vinyl#colored vinyl#lp#music#records#record collection#soundtrack#stranger things#netflix
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Ben Frost - Kapitän (from 1899 Original Soundtrack)
Have you caught this amazing new Netflix show 1899 from the creators of Dark yet? The film has them teaming up with Australian-Icelandic composer Ben Frost again for the soundtrack and it’s great! The music really adds to the haunting and mysterious aspects of the show for sure. It’s also cool to hear how Ben Frost recorded some of the sounds by visiting a ship in dock and sampling the atmosphere, horns, and knocks on different surfaces to create his score.
Go watch the show and listen to the soundtrack now on Bandcamp!
#ben frost#kapitän#1899#invada records#lakeshore records#reykjavik#iceland#baran bo odar#jantje friese#netflix#composer#electronic#soundtrack#score#music
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Billy Nomates — CACTI (INVADA)
CACTI by Billy Nomates / Tor
Billy Nomates, whose real name is Tor Maries, first gained traction under the aegis of the Sleaford Mods, and while she was, perhaps, always a bit more fluid and pop-influenced than them, her first album echoed that band’s volatile combination of profuse verbiage and skeletal beats. Cuts like “Fat White Man” delivered bile-spiked poetry in the context of clanking minimalism; it wasn’t a big reach for the Sleafords’ loyal fan base. CACTI, you should know from the outset, is a whole different beast. It’s sung—and even occasionally crooned—rather than spat. There are melodies at the center of these songs and they are cushioned with lusher, more dance-friendly pop arrangements. It’s way more diva, way less punk.
The disc opens promisingly with the corrosive growl of bass that kicks off “The Balance Is Gone.” Billy Nomates’ voice is a tough, vibrating belt as she protests the unsettled aftermath of the pandemic (“And now I hear the experts in the room/say that things will all be over soon”). But pretty soon, cooing girl-group overdubs echo her rants and a quivering new wave synth pushes up out of rocky soil. Gate-reverbed drums gallop wildly. There’s a bit of a guitar solo. The song turns borderline bouncy in the chorus, a little bit of Katrina and the Waves perkiness poking out of its alienation.
The title track also tries on a new wave 1980s vibe, with its eerie keyboard and echoing rifle shot snare. If you’re old enough, you might flash back on to The Motels or even certain Madonna cuts in the mix of lyrical darkness and pulsing pumping synth-dance vibes. “I’m off again to dance on hostile sands/me and the desert holding hands,” sings Nomates, and it’s all there in the sound: the dance, the sands, the hostility.
CACTI was so different from what I expected that I went back to the S-T to check, and sure enough, it is a bit more pop than I remembered, but considerably less so than this follow-up album. “Vertigo” resembles the older material most closely, with its spare, ominous beat and confrontational delivery, but even it flowers into a full-on rock anthemic chorus. The third single, “Spite” takes things even further in that 1970s mainstream rock direction. The exuberant refrain—“I just came here out of spite”—is a punk sentiment set to a bygone commercial rock standard. It reminded me most of Pat Benatar.
So bottom line: if you like diva pop with a little edge, have at it. But if you got into Billy Nomates because she reminded you of the Sleaford Mods, maybe sit CACTI out.
Jennifer Kelly
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Track of the day // Billy Nomates - balance is gone
From the album CACTI, out January 13th via Invada Records.
#track of the day#balances is gone#new music#music#recommended#billy nomates#cacti#tor maries#invada
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excellent soundtrack with some very spooky tracks
Gazelle Twin & Max de Wardener - The Power (Invada, 2021)
#2020s#Gazelle Twin#Max de Wardener#electronic#experimental#industrial#dark ambient#soundtrack#spooky#women in electronic music#Invada#2021#week 8-2023
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Album Review: Benefits - Nails
Words: Ben Forrester
I’ve been pretending to be a journalist for well over a decade now and I genuinely feel like there has been a recent shift in new music fans and their open mindedness. I never thought I’d see a band that blend noise, drone, spoken word, punk and extreme metal get the backing that Benefits have had recently.
The profile of the North-East outfit has risen dramatically since…
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#Album Review#Benefits#Birthday cake for breakfast#Cat Myers#Dale Frost#Flag#Invada Records#Kingsley Hall#Marlboro Hundreds#Meat Teeth#Nails#Shit Britain#Warhorse
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Dedicated · Katalyst · Diverse
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New Video: Divide and Dissolve Share Stormy "Blood Quantum"
New Video: Divide and Dissolve Share Stormy "Blood Quantum" @dividedissolve @invadauk @another__side__
Melbourne-based duo Divide and Dissolve — Takiaya Reed (sax, guitar) and Sylvie Nehill (drums) — have focused on Indigenous sovereignty: Reed is Tsalagi (Cherokee) and Black, Nehill is Māori. As a duo. they released two albums 2017’s Basic and 2018’s Abomination through DERO Arcade before signing with Invada, who released their widely acclaimed third album, 2021’s Gas Lit. Gas Lit Remix EP was…
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#Blood Quantum#DERO Arcade#Divide and Dissolve#Divide and Dissolve Abomination#Divide and Dissolve Basic#Divide and Dissolve Blood Quantum#Divide and Dissolve Gas Lit#Divide and Dissolve Systemic#instrumental#Invada Records#music#music video#New Video#noise punk#noise rock#video#Video Review#Video Review: Blood Quantum#Video Review: Divide and Dissolve Blood Quantum#women who kick ass
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