Divide and Dissolve are not your average doom metal band. Formed by the powerhouse composer and multi-instrumentalist Takiaya Reed, they have classical chops as well as face melting solos. Better yet, despite playing instrumentals, they also have something to say about the state of the world, railing against the neo-Nazi orange clown and his toxic toadies.

This album then, their first since they signed to Bella Union last year, takes on themes of colonialism and crumbling institutions, but believes in the power of love and survival. And it sounds suitably dystopian and ominous. ‘Loneliness’ has duelling saxophones invoking the last days in a dusty, shellshocked town in the desert. It’s breathtakingly beautiful, essentially music to watch Trump tank the global economy by.

‘Provenance’ and ‘Death Cult’ are like two sides of the same coin, with the former tying Reed’s elegiac saxophone together with crunching, gut-punching guitars. The latter simply has a similar riff, yet fades into an eerie dawn.

Meanwhile, ‘Grief’ and the stunning, operatic opener ‘Hegemonic’ feel truly disorienting, with choral vocals reverberating and running backwards to deeply psychedelic effect. It’s the end of days, potentially, but Divide and Dissolve are not going quietly. The systems which govern may be broken, but the music still suggests, through its incredible power and beauty, that the human spirit will prevail. If the band are insatiable, it’s for change that benefits the many, not the few.