Ruban Neilson – Get In Her Ears

“If you can imagine something ending, then it can end,” offered Divide and Dissolve‘s saxophonist and guitarist Takiaya Reed during an interview with Get In Her Ears back in 2021. Visualising a world without injustice is at the core of what Divide and Dissolve do. Their uniquely heavy sound is designed to erode the foundations of colonialism and liberate the land for indigenous communities.

Since the release of their debut album, BASIC, in 2017, Reed and her bandmate percussionist Sylvie Nehill have been honing their unique form of gargantuan-yet-graceful noise in order to help cauterize the wounds of colonialism. Their 2018 album, Abomination, and third record Gas Lit (2021) continued this necessary aural purge. Now, the band have shared their fourth offering, Systemic, and it’s equally as commanding and as poignant as its predecessors.

Released via Invada Records and produced by Ruban Neilson of Unknown Mortal Orchestra, Systemic continues to push Divide and Dissolve’s essential, empowering message into the ether. Fuelled by Reed’s distinctive, doom-ridden saxophone sounds and Nehill’s phenomenal percussion, the nine tracks that make up Systemic seek to undermine the separateness that colonialism enforces, and instead, engage listeners from all walks of life, uniting them in a sometimes blissful, but more often blisteringly heavy cacophonies of resistance.

From atmospheric opener ‘Want’ and the beautifully dense sounds of ‘Blood Quantum’, through to the majestic closing track ‘Desire’, Systemic is permeated with an altruistic blend of both overwhelming fury and unyielding optimism. Whether listeners are being pummelled by the crushing beats and riffs on ‘Simulacra’, or being lulled by the striking, melancholic sax sounds on the intro to ‘Indignation’ – before being hit with an obliterating volume shift two minutes in – Divide and Dissolve’s dynamic instrumentals assault the senses and reflect the complexities of the emotions and concepts they’re inspired by, including the strength of non-verbal communication.

The only words on Systemic are uttered on ‘Kingdom Of Fear’ by Minori Sanchiz-Fung, who the band have worked with on their previous records. “I have pleaded / let me return these songs to the dirt / cognizant of the wound / that has yet to heal” the Venezulan artist quietly urges, articulating and acknowledging the dispossession that occurs in the aftermath of colonial violence. This message resonates deeper alongside the band’s sublime, drone-like score.

Changing the heavy music landscape one record at a time, the patience and empathy that underscores Divide and Dissolve’s sound inspires a deep sense of awe and respect. “The album is a prayer to our ancestors,” Reed offers about Systemic, and what an awe-inspiring ode it is.

Divide and Dissolve’s new album Systemic is available to buy here

Follow Divide and Dissolve on bandcamp, Instagram, Spotify, Twitter & Facebook

Photo Credit: Yatri Niehaus

Kate Crudgington
@KCBobCut

An exhilarating, powerful assembly of sounds designed to erode the foundations of colonialism and liberate the land for indigenous communities, instrumental activists Divide and Dissolve‘s second album Gas Lit smoulders with a righteous fury. Produced by Ruban Nielson of Unknown Mortal Orchestra, the record is an aural purging of injustice, fuelled by the diversity of Takiaya Reed’s doom-ridden saxophone sounds and Sylvie Nehill’s phenomenal percussion. It’s the band’s first full length release since their 2018 album Abomination, and much like its predecessor it flows with a unique gargantuan grace.

Released via Invada Records, Gas Lit sees Divide and Dissolve continue their sonic mission to disrupt toxic white supremacy. Reed & Nehill’s sublime instinct for colossal drop-ins permeates their music and acts as a powerful weapon in the fight against inequality. These cathartic shifts in sound saturate Gas Lit, and opening track ‘Oblique’ is the first of many aural shockwaves to hit listeners. Silence in a world of inequality is damaging and Divide and Dissolve seek to shatter the illusions surrounding this. The intense grit of ‘Prove It’ continues to hammer this message home, with its pulverizing beats and caustic riffs.

The pensive spoken words of poet Minori Sanchiz-Fung on ‘Did You Have Something To Do With It’ bring to life a poignant question that underscores the record: “are [we] a part of this world / or its affliction?” It bleeds into the epic seven and a half minute ‘Denial’, which is a disorientating sonic whirlwind of thunderous riffs, ear-shattering percussion and uncanny saxophone notes. The visceral sounds on ‘Far From Ideal’ and ‘It’s Really Complicated’ beautifully embellish the band’s narrative charge against oppression and provide more riotous cacophonies to escape into.

On ‘Mental Gymnastics’ and ‘We Are Really Worried About You’ Reed flexes more of her extraordinary sax-playing muscles and her ear for intense riff distortion. On the latter, they’re combined with Nehill’s crashing cymbals to form a swirling vortex of cathartic dissonance, reiterating the band’s message that the sufferings of indigenous communities have evolved beyond what’s “recorded in stone / and in bone.” The resentment and need to overcome this is now so strong that – in the words of Minori Sanchiz-Fung – “language can’t console it.” Divide and Dissolve are here to give weight and validation to these voices, and Gas Lit is a majestic and moving effort to do so.

Pre-order your copy of Divide and Dissolve’s new album Gas Lit here.

Follow Divide and Dissolve on bandcamp, Instagram, Spotify, Twitter & Facebook

Photo Credit: Billy Eyers

Kate Crudgington
@KCBobCut

Tag: Ruban Neilson

ALBUM: Divide and Dissolve – ‘Systemic’

ALBUM: Divide and Dissolve – ‘Gas Lit’