Divide & Dissolve @ The Curtin
A night of Black and Doom Metal.
Review and photos by Brittney McCarthy of BM Images
Opening for the night was Melbourne/Naarm’s three-piece Kilat, performing their debut album Rantai Penjinak in full, except for the opening track. Instead they played an unreleased new song, what a way to kick off their (as usual) fantastic set.
Karina Utomo is a humble presence on stage. Before the show, she calmly preps her space, getting ready to perform. There are quiet breaks both in-between and during songs, where she immerses herself in a moment of introspection. Her powerful, brutal voice and movements may appear chaotic, but everything about Utomo is done with intention.
Guitarist Ben Andrews loves it loud, with a setup of speaker cabinets filling the wall from floor to ceiling. Every Kilat show I have been to, I’ve left with pulsing eardrums - my earbuds are no match for Andrews, who doesn’t just want you to hear their music, but feel it too.
Kilat has an upcoming tour in Indonesia, playing 8 cities this August. Their supports for this tour will be two Indonesian acts: post-metal sludge outfit Amerta and Sunlotus, a heavy shoegaze unit. Both of which I have immediately added to my current rotation. If you happen to be in Java or Bali in August, these will be some killer shows.
This was my first time seeing Divide and Dissolve. I've had a deep curiosity for their sound since hearing them in early 2021 after their third album, Gas Lit, came across my radar. My partner was excited to show me the Naarm based femme duo, and so we spent a listless afternoon lying on our bed, bathing in sunshine and a soft breeze, listening to the album on repeat, consumed by the brilliant storytelling in music that has no lyrics.
I’ll forever hold Divide and Dissolve in my heart for their unique and distinctive approach to aural storytelling and for expanding my understanding of what music is and can be.
As they set up for the show, Takiaya Reed and Rin McArdle gave each other a quick hug, eyes full of smiles. Beneath the ‘SAD GIRLZ LOVE MONEY’ track playing from the house speakers, Reed picks up her black and gold sax and plays some teasing notes, a wave of warmth hits me hearing these distinctive D&D sounds. They then opened with whistling sounds that, when my eyes were closed, made me feel far away, in a different space and a different time, not standing in an incense-filled band room in Carlton.
Takiaya Reed’s land acknowledgement strayed from the usual robotic paragraph I am used to hearing. She stated, “We acknowledge the land, but then what do we do after that?” I heard a few cheers from the crowd and noises of agreement. She continued, “Doing it [land acknowledgement] is wonderful, but there is so much more that we can do with actions and not words . . . I want to show my deepest appreciation for the people of this land and I would also like to honour my ancestors. I’d like things to change, land to be given back, and reparations to be paid.”
While introducing Blood Quantum from their 2023 album Systemic, someone’s cough burst above Reed’s gentle voice. She quickly quipped, “hope you get some water”, which was met with loud laughter from the room. Reed carefully explained the meaning behind each song as she introduced them: “The ideology behind Blood Quantum is intense and it impacts so many people - I’d argue it impacts all of us. There is a constant battle. Let’s get on with it; I’m talking too much.”
Reed crafts a perfect loop of sax before launching into viscous sludgy riffs, combined with McArdle’s crashing drums, they come together to unfold a tale of terror and envelop you in trepidation.
The next song Indignation is about hope for the future, where people can be treated with respect and be given the tools to live. Reed dedicates this to singer Karina Utomo of Kilat. Throughout the set, Reed set up the loops for the song. Her layering is effortless; she flows through the set up of each song with ease. This time allows the crowd to reflect on the intent behind the song she just introduced.
Black Vengeance from their 2017 album Basic is a love letter to Reed’s anger. She explains, “It’s so iconic [her anger], everyone is like ‘why are you so angry?’ . . . Why can’t I just be in my anger when it happens? It’s a weird form of racism, it’s not cute. With this [song], I just wanted to acknowledge the peace that I cultivate within myself and that it’s okay to experience anger. Some of us don’t have that full range of emotion because it is not safe. Some people get angry, and they get murdered.” After finishing the song, Reed remarks, “I’m feeling relaxed though, not angry at all.”
Their final song picked up the pace with the drums, though it didn’t feel like their strongest, the sound was a bit muddied compared to the ones before. I took my earbuds out for a moment to assess the sound and found I would not have survived without them… the wall of sound created by Ben Andrews continued through to Divide and Dissolves set.
It would be reductive to describe Divide and Dissolve simply as doom metal, you must dive headfirst into their discography and let them take you on a journey. Crashing cymbals, throbbing guitar, allow the patterns in the sound to ripple around your consciousness until the song becomes your mantra, your meditation, your moment of reflection. Music that by design makes you feel, wonder, and question. Your internal dialogue will stop and listen to what Divide and Dissolve has to say.
