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The Dirtiest Rock Coming Straight Out the Bunker

A review of rising rock band: Divorce Finance - Live From The Bunker EP

Track 1: Auto Communist Dream Girl

The EP opens with glitchy, feedback heavy muddy guitars delivered by Dr Fuck and Hugh Jass (yes these are their real aliases), a classic 4 count of the drumsticks gets the ball rolling. The track then opens up into a guttural rock bop, placing me in the front seat of a sunroof car, hair blowing in the scorching desert sun as the guitars screech from the radio. The lyrics delivered with a bassy, and animated voice, often switching between tones, with more high pitched screeches to give the track, and the whole EP, a Jekyll and Hyde feel. The lyrics are as fun as they are memorable, yelling that you can’t bring us down anymore. To me, this was a message about non-conforming, the world presents us with one thing, but we choose another. The singer and leader Mr Discipline describes the Auto Communist Dream Girl as bringing out his worst fears, but from the admiration and defiance shown at the end of the track, seems to be the qualities that he wishes he could embrace as freely as this Dream Girl does so effortlessly, yelling that the sensibilities of the world “can’t bring us down anymore!” right in the face of those who may wish to stay in the status quo.

Track 2: Loneliest Twink On The Ranch

The second track opens up with a rhythmic bassline from Kyle Monoxide and a funky drum loop from Quick Lewinsky. Discipline screams in frustration, that he’s the loneliest boy in the ranch. The song truly sounds like the despair that can be felt in isolation, yelling into the void about how lonely we are, while still keeping an element of authority so as to still be confident in oneself: “the tipsiest shepard in town”. The song therefore reads more as being isolated even when surrounded by many, lonely on the basis of our relations to one another, rather than the quantity of company we keep. A fitting sentiment for the queer experience. There is much lyrical content to be had here, however I did struggle to completely make it out, likely due to the recording and amount of effects on the vocals. This song is still a joy to listen to, and keeps that muddy sunny feel that is felt in the opening.

Track 3: Director’s Cut

Although not by a large amount, the third track: Director’s Cut is definitely the highlight of the EP for me. The instrumental is disgusting, the guitars are hard, wooden, and clean. The bassline is infectious, the drums a feet tapper. The same bassy, swaggy delivery returns here, in its best form. With multiple funny lines about fellas who think God is Tarantino, Wes Anderson and Scorcese to name a few. The track paints a picture of a masculine man, looking up to these famed and revered film-makers as Gods, implementing their works into all aspects of their life (I’m sure we can all name someone who fits this description). The track therefore closes with a critique of “living life through a lens”, instructing these actors to “wake up!” over an ascending instrumental. The song then opens up one more time, into possibly the best instrumental sequence of the project, everyone was on top form here, I suggest you listen for yourself. The momentum of this song is never lost, if you aren’t hearing hilarious director name drops and clever camera metaphors, you’re hearing soaring guitars straight out of a western. All of these elements make for a very cinematic song, this song delivers much imagery, and much joy.

Track 4: 10 Years With Lisa

10 Years With Lisa is certainly the most unique track of the bunch, a slower, more sentimental song, perfect for a slow dance in a rough, dirt-cheap bar. The instrumental is therefore a contrast to the lyrics, describing these 10 years with Lisa (Ann) as a lonely endeavor, anticipating the time when Discipline will finally “try the real thing”. There are also lines describing a past of low-self worth, probably the most common feeling when Lisa Ann is on our screens (not that I would know of course). Lisa is therefore a representation of loneliness, we have company, any time of day, but it is not a real connection, its a consumption of… content. There is also a hilarious line about Jesus and Lisa’s ass, I wouldn’t do it justice here. The song’s sway in the breeze vibe is a welcome switch up from the more aggressive tracks that come before, and the delivery is charming, erratic and passionate all at once, jumping between more hard-hitting and soft delivery throughout. The instrumental follows suit, the majority being slower and calmer, but still has moments when it descends into that same rock madness that’s present on the other tracks. Certainly one of the better songs of the bunch, and definitely sticks out for its more calm tone (apart from the end, the end is still the same manic screeching that gets your neck hurting).

Track 5: BitchKrieg

The EP unexpectedly ends with a short, skippy, and much faster instrumental (Quick Lewinsky certainly earns their title here), with exaggerated, roaring delivery over the packed and goofy rock groove. The song jumps in motions, all of them intense, with impressive speed. The closing track does suffer in that its themes feel much more shallow than its counterparts, this song certainly isn’t saying much, but its entertainment comes in its impressive instrumental. Usually this wouldn’t be too much of a detriment, but the fact that this somewhat shallow and fun song comes at the very end of the project, means that I am not left with a particularly strong impression, rather, I’m still thinking about the interesting concepts presented to me on the previous two tracks. BitchKrieg’s instrumental certainly feels like the swansong the ending to a rock project should have, but its repetitive and vague lyrics prevent it from being a mesmerizing closer.


An impressive live EP, hard twangy guitars are littered all over, funky drum loops, and some infectious basslines. Themes on multiple songs across the EP are genuinely interesting and memorable, despite others falling slightly short. All of the songs on this project were enjoyable for me, even if some felt slightly under-developed and missing the aspects that shine through on the bigger highlights of the EP. Director’s Cut and 10 Years With Lisa are certainly my favourites.

Written by Teddy/Theo Ndlovu, with a love for psychedelic rock, alt-rap and soul. Everything written above is my personal opinion, and not to be taken as an objective critique of Divorce Finance - Live From The Bunker. Listen here:

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