A-F Records/Gunner Records – 4 February 2022
Neoclassic rock for alt country fans who fell in love with Brian Molko disguised as Robert Smith… who just bit the head off of a bat.
Damn, that’s a mouthful but it’s the best way I could think to describe it. The latest release from DIVIDED HEAVEN aka Jeff Berman, is viscerally impassioned and shows a maturity and progressiveness in his writing style. With the help of an all star cast of not just one but four producers, Frank Turner, Charlie Stavish, Tim van Doorn & Michael Biancaniello, whom all contribute their respective strengths to the project, he’s birthed his newest baby, Oblivion. Hitting upon hot button issues, he poignantly addresses subjects like toxic masculinity and misogyny in the music industry, as well as the decline of empathy as a direct result of the constant culture wars propagated by right wing media outlets, to name a few. It’s certainly the most diverse and experimental offering from Berman yet.
“Monuments” begins slowly with gently palm muted strings and a soft but impassioned vocal delivery that occasionally gives Billy Joe Armstrong vibes. The rhythm section comes in about a third of the way through but is more subtle and subdued, coming and going like waves as you sail the seas of sadness which becomes somewhat of a theme across the spectrum of the album. It’s a warning to future generations accenting the shortcomings of generations past while weaving his own spiritual beliefs into the narrative. “We’re here with the junkies getting high on our thoughts and prayers…”
“Burn Me” continues building where it’s predecessor left off with hints of The Cure and is one of the more aggressive tracks on the album. It’s massive sounding in comparison to it’s siblings, the drums really shine, and there’s lots of reverb, echo, and phased out leads plucked right out of the 80’s. It’s a hello to all the haters and it’s followed by the lead single, “They Poisoned Our Fathers,” an alt country anthem which includes a guest appearance by Lydia Loveless and represents an attempt at tackling more politically influenced subject matter. If we’re lucky we only have to deal with that weird uncle at family gatherings… if we’re not so lucky we’re surrounded by those that have seemingly espoused their own integrity by adopting the lies they’ve been sold. Either way we all experience toxic points of view championed by those around us and sometimes there’s nothing we can do to pull them from that path. And why would we when it all too often comes at our own expense? “There ain’t enough love to change your mind.”
Ever since I fell in love with the latest Halsey record I keep hearing Trent Reznor’s production aesthetic everywhere. Maybe it’s because I grew up listening to NIN but the way” Creep” begins and ends with a drum machine inserts a hint of industrial flavored influence when combined with the subtle darkness that looms over the thinly layered synth and guitars sounds. It’s certainly an eerie number that lies in contrast to “Baby in the Band.” This is the DIVIDED HEAVEN I’m used to. It reminds me of Koji, more emo than folk, but still has a classic Americana feel too and transitions well into “Reckoning” as it rings out into the ether. The sounds dissipate leading to an intro of notes getting tapped out lightly on the piano which provides the main focus and foundation of the song. Is it ushering in Something akin to a modern version of The Pogues’ “Fairy Take Of New York” with Synth tones stacked on top? You be the judge…
As the album progresses, “About You” is crafted by combining wistful finger picking and a rhythmic foundation that ebbs and flows much like the albums opener. It rises and falls as each piece enters and exits the chat and that conversation is the inner monologue that’s longing for lost love. With a fair bit of falsetto and wee bit of a warble, I can’t help but hear Claudio Sanchez from Coheed and Cambria. “I still think about you…” “Beginning of the End” seems like a slight nod to his Pennsylvanian counterpart Dave Hause except he’s adding his own signature sonic touches, rendering the fat of rock n’ roll into the poppiest and shortest number by far while “Panic” has more of that southern charm and approaches the inherent division and divisiveness that’s evenly distributed in our collective cultures. With just a dab of Blue Oyster Cult’s “The Reaper” and a dollop of Fleetwood Mac, it’s “a trial by fire in a culture war.” Which brings us to the finale and title track on DIVIDED HEAVEN’s fourth full length, “Oblivion,” It may be the longest, passing the five minute mark, but it’s a fitting end to a blues laden emotional endeavor and if you’re a fan of Pink Floyd you’ll likely notice some similarities. It makes me wanna drop acid and put on The Wizard Of Oz.
There’s an amazing depth to the musicianship, and the production value is priceless. No, It’s not a feel good record. It’s not all rainbows and unicorns and there’s a rain cloud hanging over it from start to finish. However, not all records have to be uplifting to be considered great and I sincerely believe that this was a therapeutic one to make. There’s an Incredible amount of instrumentation and artistry that exudes emotion contained within and it’s decorated with ever present soprano backing vocals and a tastefully understated rhythmic foundation. Everything from simple acoustic strumming that points directly towards earlier works to more affected guitars drenched in delay and reverb, synths and piano, much of which Berman played himself, comes together to form and intricate portrayal of one mans views of the world but, even though this is a solo project, he has friends in low places that helped Oblivion come to life. It’s a journey, not a destination.
Jerred Lazar is a make believe musician and wannabe writer attempting to survive in Washington DC
