Music

Review: Divide

Image result for ed sheeran divide

Claiming both immense commercial and critical success in 2017 was Ed Sheeran’s album, Divide. Nielsen Music, which measures music sales and overall market performance, ranks the album as the top selling album in the United States, with 2.764 million sales including traditional album sales and digital downloads. The album went on to go Platinum in both the United States and the United Kingdom.

This amount of success came a year after late December 2015, when Sheeran abruptly announced he was “taking a break from [his] phone, emails, and all social media.” The year-long break allowed him for time to experience things outside of music. For artists like Sheeran, who draw inspiration from personal experience and emotions, this process is as crucial as time in the studio.

Divide is interesting in that it both embraces Sheeran’s claim to fame, while departing from his previous methods. In terms of cohesiveness, Divide’s tracks are united thematically rather than acoustically. At the heart of the album is the theme of home and maturity as a figure in the music industry.

Half the pleasure of listening to Sheeran is trying to decipher which of his songs are personal philosophies and which are eloquent lyrics designed to universally resonate.

Obviously, the most intimate songs are also the first two of the album: “Eraser” and “Castle on the Hill.” The former speaks about the trappings of fame and the inevitable disconnect with old friends who don’t understand what Sheeran admits is his strange profession. With startingly candid lyrics like “I’m well aware of certain things that can destroy a man like me” and “I think that money is the root of all evil and fame is hell,” the song is a strong start to the album. Overall, the song introduces the root of the album’s drive: The repercussions and joys of coming home.

“Eraser” is also the only song in the album that, at times, feels uneven in terms of lyric over beat. The narration overtakes the melody and the effect borders on dissonance. This is not atypical of Sheeran, who is no stranger in making the bold choice of choosing message over tune (see “Wake Me Up” from the Plus album). “Castle on the Hill” is the sunnier sister to “Eraser,” carrying a more upbeat tune to illustrate Sheeran’s anticipation for home.

With the exception of “Supermarket Flowers,” which is an ode to Sheeran’s deceased grandmother, the rest of the songs in Divide are love songs–Sheeran’s bread and butter. Though he has readily admitted that the love songs on the album are inspired by his current girlfriend, the lyrics are vague enough to echo with his large, international audience.

Listening to Divide removed from the knowledge of its monetary and critical success, the album’s heterogeneous sound is evident. With success comes more opportunity and with his career being one of the major themes of the album, Sheeran showcases clear development from his signature looping, acoustic sound to a more varied arrangement of music, playing full songs with the main sound not on the guitar but with a piano or the experimental Irish folk tune.

There is an obvious experimentation away from the usual, apparent in outliers from his usual sound like “Galway Girl,” “Barcelona,” “Bibia Be Ye Ye,” and “Nancy Mulligan.” The tones of these songs break the unitive sound of the entire album but also showcase Sheeran’s aptitude as a songwriter and producer.

Divide is deserving of its title as the one of the best albums of 2017 not just because of the degree of expertise that each song is constructed with. What the album illustrates is a feat in of itself: Sheeran’s rightful place in the top tiers of the music industry. It is a showcase of his dexterity as a performer, lyricist, and producer, and more importantly, a professional who can release a high caliber of work even after a year-long disconnect.

You might like these!
Music

Here for a good time, not a long time: The Album by the Jonas Brothers

WHERE SHOULD you start your summer—at Montana or the Waffle House? The Jonas Brothers have made a splash with The Album (2023), the follow-up to their comeback record, Happiness Begins (2019). The LP is filled with beachy tunes and tidal waves, very similar to the energy exuded by the previous album. In interviews, Nick, Joe, […]

By Giu Martinez

May 18, 2023

By Giu Martinez • May 18, 2023

Music

All grown up: This Is Why by Paramore

BEING AN adult isn’t the greatest—and This Is Why (2023) proves that. Following a five-and-a-half-year break, Paramore has made a comeback with their sixth studio album, This Is Why. Time and time again, the band has pivoted in terms of theme and sound—from the classic pop punk of All We Know Is Falling (2005) to […]

By Giu Martinez

February 23, 2023

By Giu Martinez • February 23, 2023

Music

Celebrating Manila’s creative scene: Joining forces with Manila Community Radio

NIKE’S GLOBAL celebration of the Air Force 1 sneaker’s 40th anniversary last November was fronted by the “Join Forces” tagline—a call for all creatives to build communities that push their passions forward. Nike held the Manila leg of the celebration with the help of Manila Community Radio (MCR), an internet-based radio station that also plans […]

By Martin Celiz

January 9, 2023

By Martin Celiz • January 9, 2023

Music

Chronically heartbroken: Suki Waterhouse’s Milk Teeth

SONGS ABOUT heartbreak never go out of style, and Suki Waterhouse takes advantage of this fact. Milk Teeth (2022)—a six-track-long treasury of the London-based singer-songwriter’s early work, including her 2016 debut single “Brutally”—is a testament to this. The EP also introduces a fresh sound for Waterhouse through the previously unreleased opening track “Neon Signs.” The […]

By Jia Parma

November 18, 2022

By Jia Parma • November 18, 2022