HOME arrow BEAST RDS 12'' / 33T arrow DIVIDERS 'Fourwalls Farewell' LP Saturday, 23 September 2017

DIVIDERS 'Fourwalls Farewell' LP
12" LP vinyl / Shipping
DIVIDERS 'Fourwalls Farewell' LP BR184

"I do folk..." as Bowie once said to his buddy Bolan.
Folk of course, but a settled folk, that the Spiders from Mars quickly turned into an enjoyable and epicurean rock 'n' roll. Dividers adopted the same approach.
With Turbo, Lo 'Spider, Jeremy Pirates and Pierre Pacific, Ismael has managed to put together a quartet that finds inspiration in classic Americana songs, twisting them into a warped and deafening antifolk. Traumatized by Lee Hazlewood, Gun Club, Marc Bolan and Violent Femmes, Dividers speed up and purify these folk melodies. Their melancholic songwritting and nonchalant voice intertwine with Fuzz's howlings and the powerful rhythm section.
Dividers have no frame. Dividers are not supported by any artifice. Dividers never follow any trend or fashion. They naturally disseminate melodies written on winter evenings, and arranged with an energy that would be the envy of many rock'n'roll bands.


"We head to France now and the errant lads Dividers. They have just released Fourwalls Farewell through Casbah Records and Beast Records a couple of weeks ago. Starting off with a countrified swagger in 'Fuck The World', the album blasts through the cerebral vortex with 'Empty Rooms' and 'Never Wanna See You Again', goes into a Soundtrack Of Our Lives amble on 'Hambourg', gets all pastoral psych pop on 'XXX'... Dividers are a fidgety band on paper, but the languid grooves that underpin either their Wild West saunter or their garage sneer keeps everything on an even keel."
Brendan T, sonicmasala.blogspot.co.uk

"Premier indice pour tenter d’approcher DIVIDERS, c’est la qualité des deux labels qui s’acoquinent pour sortir leur album. Hautement fréquentables, Casbah records, basé à Valence nous a habitué aux sorties juteuses dernièrement (Cowbones, Duck Duck Grey Duck, Reverend Beatman), tandis que le Rennais Beast records continuent d’agrémenter un catalogue déjà bien fourni (Pete Ross & The Sapphire, Go!zilla, Movie Star Junkies…).
Le second est que les quatre gaziers ont déjà couper de la bûche dans des formations de fins limiers du garage français (Shiva and the Deadman, Liminanas, Jack of heart, Armure, Gaz Gaz…) et Lo’Spider, aux manettes de l’enregistrement, est également bassiste sur le LP.
“Comme le disait Bowie à son pote Bolan : je fais de la folk”. La baseline assumée par DIVIDERS serait presque réductrice, tant le disque explore de nombreuses facettes du rock garage, en partant il est vrai d’une base, disons death-folk. Ramenez un bout de désert sur les bords de la Garonne, en conviant Jeffrey Lee Pierce, Lee Hazlewood et les Violent Femmes, et la fête est plus folle. Seul l’accent trahit les origines, le reste est du boulevard (de la mort).
Dernière info, le disque sort le jour du Disquaire Day, une belle prouesse pour les deux labels d’avoir été livré à temps pour cette grande foire aux vinyles. Les délais de fabrication s’allongeant proportionnellement aux sorties putassières de grandes maisons de disques. (Trop bien, un 45 tours de Bowie à 300$ !)"

"Die Überschrift der Presseinfo zum Debütalbum von Dividers lautet: “Anti Death Psyche Folk Garage from Toulouse”. Wow, eine doch recht unorthodoxe Genre-Einordnung! Das französische Quartett ließ sich zu dessen Umsetzung durch Americana inspirieren und drehte jenen Einfluss einmal durch den Fleischwolf, um uns auf “Fourwalls Farewell” einen fulminanten Fuzz-Sound zu präsentieren, der extrem frisch klingt und hervorragend ins Ohr geht.
Zurückhalten tun sich die vier Herren auch im Titel des Openers nicht: “Fuck the world” – alles klar. Starke Reminiszenzen zu Western-Filmen werden wach, nach einem ausufernden Intro rattert der Song los und gibt den Weg frei für den rumplig-charmanten Stil, den Dividers auf ihrem Erstlingswerk fahren. Das Tempo wird im darauffolgenden “Empty Rooms” nochmal deutlich angezogen, ein Punk’n’Roll-Brett, das sie dem Hörer mit kreischenden Gitarren um die Ohren hauen. Laut und energetisch, trotzdem hervorragend melodisch.
In “XXX” gibt es ein extrem charmantes, dahingerotztes Gitarrensolo. Ohnehin lässt “Fourwalls Farewell” eine erfrischend schnelle Herangehensweise im Entstehungsprozess erahnen. Es ist sicher nicht in jeder Hinsicht bis zum letzten Detail ausgereift und gewinnt genau dadurch an Intensität. Bei Songs wie “Gonna get drunk” oder besonders dem großartigen “Never wanna see you again” lassen sich sogar Parallelen zu Bands wie den Ramones ziehen – und das ist ein großes Kompliment an die Dividers aus Toulouse!
Dass sie auch weniger heftig können, zeigt der abschließende “Grey Song” – ein musikalischer Thriller, eine düster wabernde Ballade samt Streichereinlagen, die dem gut 30-minütigen Werk einen würdigen Schluss verpasst. Und so bleibt zu hoffen, dass sich die Dividers ihre schnelle Attitüde beim Songwriting beibehalten, denn von dieser Band wollen wir dringend noch mehr hören nach dieser hervorragenden Platte! Am 18. April erscheint sie in einer Kooperation der französischen Casbah Records und Beast Records."
Tim, www.noisiv.de

" Je dois dire que je ne suis pas loin de l’overdose de cette vague néo psyché actuelle, donc quand ce 1er album est arrivé entre mes mais je me suis dit : encore ?
Heureusement ce disque est bien plus et bien meilleur que la production de cet épiphénomène musical à la durée de vie (trop) longue.
A cela beaucoup de raisons :
D’abord Dividers injecte un gros paquet de nerfs (ou de couilles, c’est comme vous préférés) dans sa musique, bien assez pour se démarquer et, la rendre passionnante / palpitante !
D’autre part leurs sources d’inspirations ne se situent pas du côté du San Francisco actuel, mais bien ailleurs. Dans plusieurs ailleurs dirai-je même.
Indie Rock 90, Brit Pop, Freakbeat 66, Noise, Trash Blues, C86. Et bien entendu psychédélisme mais pas envisagé comme une recette, au contraire : comme une liberté possible.
On peut entendre dans leur musique à la fois du proto Shoegaze et un petit côté Dogs extrêmement réjouissant !
Enfin en agglomérant tous ces éléments ils composent des CHANSONS formidablement accrocheuses ce qui donne un album qui s’écoute de bout en bout, car il est à la fois une œuvre homogène et, un assemblage de titres percutants & excitants."
Bertrand Tappaz, voixdegaragegrenoble.blogspot.fr

"The two labels that put out this DIVIDERS record said it best – “Dividers speed up and purify these folk melodies.” Fourwalls Farewell is the Toulouse-based band’s debut LP, released by both Casbah and Beast Records out of France.
Fourwalls Farewell is like an ancient artifact the band dug up somewhere in a sandy desert and then decided to practice it, learn it precisely and give it its very own garage-punk swagger. Despite their finishing touches, all signs still point toward folk and alternative-country twang with a pure and honest delivery that grows on you as if a leech would while feasting on your blood. Fourwalls ranges from these alt-country slowburners to invigorating punk bangers with traces of pop, folksy bandit rock and rowdy drinking anthems. They don’t limit themselves and it keeps you listening closely as they continue to pull from their grab bag of dusty garage-friendly genres. Their guitars are gritty and sandblasted, the percussion hits hard and heavy, all while frontman Ismael Ardan’s vocals come with their own distinct slurs as he weaves in his witty lyrics. The end result is anything but forgetful.
The LP takes flight with “Fuck the World,” opening with slinky bass lines and stretchy guitar twangs, not to mention Ardan’s moody voice who may remind you of Robert Smith for a couple of moments. Guitars froth up with fuzz while the wail of the harmonica gives it all that rusty, desert-ready tone. “Empty Rooms” barges in as a blitzing alt-punk stomper with squealing guitars, delivering the albums shortest entry in just over 2 minutes. They slow the manic pace with “Hambourg” and its sunny and drawn-out streaks of reverberated guitar. “XXX” begins the sweet mid-section of the LP, bursting with singable anthems and decorated with just the right amount of synthesizer. “Touching You” starts cool and calm with acoustic guitars and Ardan’s breathy voice before the rowdy bandit anthem charges in. Guitars create a stream of melodic noise, boasting a bluesy solo over a torrent of rapid and razor-sharp guitar plucking. The bass dips and bounces with low-end frequencies, advancing the track with a definitive gallop that firmly takes a hold.
“Never Wanna See You Again” puts the pedal to the metal and never looks back. It’s driven by a two-chord crunch and explosive percussion, forcing you over the edge with their two-pronged attack. They flip the fuzz switch and you find yourself in the thick of a buzzing beam of guitar that to some of us is complete, racket-fueled bliss. “The Way of the Brave” slithers open with a click-clack rhythm and bright, jangly guitars as Ardan spits his nasally words. He’s reciting infectious and memorable lyrical hooks – “I can see the vultures flying around in circles,” or “It was good to see you/ was good to talk/ a cup of coffee and I’ll walk.” – over the looming urgency and longing feeling that grows within. Noisy guitars complement the vocal melody, then you’re suddenly awash in a palpable storm of righteously seething guitar fuzz. They break it down one last time before a crushing, world-affirming guitar solo tears it all wide open.
“Grey Song” ends the LP on a somber note where tambourine percussion and shadowy vocals call the shots. Guitars shine through on occasion like speckles of sunlight cast on the ground through the leaves of a tree. There’s a wind instrument in there (?), providing extra depth with an orchestral quality under the mystifying acoustics."

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