An Engulfing New Record from DIVKA
- BuzzSlayers
- 2 days ago
- 7 min read
A gorgeous new album release from DIVKA has an incredibly unique way of taking elements of rustic folk and Ukrainian music that feels like listening to songs written in a traditional sense, blending that with an edginess and current feel that demonstrate outstanding attention to detail and showcase how unafraid they are to branch out and create something that brings two different worlds together in such an outside-the-box fashion.
This is such an incredibly lush record packed with intense performances that, at times, feel almost Celtic or operatic, with bright and vibrant vocals, still reeling with that old-school traditional roots approach, but with this theatrical over time that lets everything sort of thrive.
The record is called Folk Fatale, and it starts with the track called "Of Storms, Babas, and Fiddling Rabbits", which does an excellent job of opening up the record, simply because you're getting a feel for their world.
This track introduces the record and does so in a very robust way.
The guitar and violas really sound incredible together, and the performance throughout the entire record is through the roof.
These two know exactly how to capture the aesthetic that they're going for, and a lot of that has to do with the energy level on these performances.
This is an album that is riddled with that once again, traditional folk singing and songwriting performances, a bit of heavy-handed femme undertones, and this fantastical sensibility that lets songs come through not just theatrical, but cinematic or filmic as well.
Right off the bat, with this first song alone, you get a feel for those violas, the harmonies, the range of intensity coming from the vocals along with some of those harmonies as well. There are layers and layers of tones and textures to soak in throughout this record, and it is really quite an experience to do exactly that.
The record is performed in English and Ukrainian, and songs like "Rusulka" give you a deeper sense of some of the vast and very spacious atmospheres along with that cinematic backbone that the duo is able to really create.
The performance on this track is almost haunting. The vocals are ghostly but still very edgy in a sense. You really get that theatrical push here, and the orchestral approach to the string performances really swallows you up.
You get all kinds of things like this throughout this record.
"IDK" is like a cross between Country, and traditional folk, but also tells such a detailed story and feels like an old-time drinking song you'd hear at a pub somewhere.
It's also songs like this that give you this strange sense of punk rock. It's in the attitude. Some of the stuff is a little bit whimsical, light-hearted, and they have this amazing sort of swagger.
"Garden of Time" delves into a bit of mythology, and the way the lyrics are articulated has such a beautiful way of telling a story. You're able to really picture things in your head as the song unfolds, and that serves as a great escape.
This whole album is really an escape. Listening to the record all the way through from start to finish, in one shot, is the only way to go.
It's almost like watching a movie, a theatrical play, or even like reading a book.
It's almost like the songs are chapters and they have different ways of interconnecting, but again, if you skip around, you're not going to get the full spectrum of what the album has to offer.
They really delve into different areas of folk music and are able to create deepening symphonic and orchestrated atmospheres when they want to. They can also be fun, dark, and very in-depth.
There really are no two songs that are exactly alike here.
This is more of an experience than an album, and listening to one or two songs will not give you anywhere near what you will be able to soak in by diving into the entire record at once.
I can't really express how important that is. I feel like this is how the album was meant to be heard.
It has been a long time since I've heard a record brimming with character the way this one is. It is so full-bodied, and these different forms of intensity that come through our borderline.
The combination of attitudes, topics, sentiments, and old soul is impressive and really has a way of wrapping itself around you and keeping you right where they want to.
This definitely is something different. It thinks outside the box but uses vintage songwriting to get there. DIVKA has created something with far fewer boundaries than the norm.
This is most certainly one of the more unique records you will hear in quite some time.
So, dig into this, don't skip around, and do it with headphones on because it's absolutely one of the best ways to soak everything in.
These vocals and performances alone will captivate you because of how boisterous they can feel.
Everything about this record is masterfully done, as they are in love with their craft, but there is also that sense of rebellion attached.
This record is like getting pulled into a different world altogether.
Upon listening to the album myself, I realized I wanted to have a chat with them to learn more about where this all comes from, how it all started, and what may be coming up next.
Check it out right now and remember where you heard it first.
Where did this release come from and what is it all about?
DIVKA began with a deceptively simple mission: To find and perform songs where women express joy, and are not punished for desire, curiosity, pleasure, or power. From that seed, the project expanded into something larger: a sonic archive of women’s inner lives across time filled with flirtation, rage, grief, eroticism, humor, longing, survival, and magic. folk fatale is our love letter to the lasses, gals, colleens, and wild women of history, when misogyny once again wears a new mask but speaks an old language. The repertoire draws primarily from Ukraine and Eastern Europe, cultures and regions that are still filtered through imperial narratives. These songs tell a different story, one of resilience, humor, sensuality, and survival.
While men were sent to fight and die in wars of empire, women kept culture alive through song in kitchens, in fields and nurseries. Through small acts of daily survival, they preserved centuries of music, and became archivists of identity. Folk fatale lives in that lineage. Over time, these songs that we received from the ancestors became mirrors of our own lives, reflecting our joy, desire, heartbreak, rage, and grief. This body of work has connected us with folk enthusiasts, and with listeners across genres and cultures who recognize themselves in these emotional truths. The bandura itself is a piece of Ukraine’s intangible cultural heritage, and Alina is a fourth-generation bandurist and song keeper. The instrument originated as a male bard’s accompaniment to moralistic fables, historic ballads, songs that spoke the truth of the people, even under the subjugation of empires. The bandura and its original soulful repertoire were all but destroyed by intentional Soviet campaigns to erase unique cultural heritage. In folk fatale, the bandura steps into a rarely performed repertoire of songs historically carried by women, and finds an unexpected accomplice in the viola. Together, the sound is ancient, feral, delicate, and explosive.
Did you have an outside producer on this record, or was it all the two of you?
It was us and the fantastic Mark Lawson (Arcade Fire, Basia Bulat). He gave us free range in his studio to be our wild, wacky selves, and he handled the technological magic and was our trusty guide through the process with many juicy insights.
You are touring for the record at the moment, correct?
We sure are. This summer we are touring through Southern Ontario, Southern BC, including a show across the border in Seattle.
Do you enjoy performing live as much as the recording and writing process?
They are completely different rodeos, and it's impossible to rank one over the other. Performing definitely comes easier; you can get yourself into the right headspace to entertain and share music. Writing requires some spark of inspiration that you can only TRY to plan for. We have learned that when you find that groove of creation, we need to jump on it and give it all of our attention. These moments are a lot of fun for us. Recording is almost the easiest, you just need infinite energy, focus and patience for the process.
How did the project start?
The project was conceived at a fundraiser for Ukraine when Zoë saw Alina howling into the ether, armed with her bandura and vivacity. Zoë approached, and went straight for the jugular with "Do you want to be my friend and jam?" The rest is history, but can be summed up as: the timing was right, we are kindred spirits meant to be entangled.
Will you get straight back to writing more material once the tour is over?
Our eyes are always on the lookout for new material. Even months before folk fatale was released, we began working with song keepers from different traditions, reading and searching through archives. We are taking a couple days off mid-tour to work on some new material and breathe in the western BC air.
What would you say people can expect from this record?
To laugh, dance, cry, reflect, and feel your heart tremble in awe. <Feel your heart pulled to the past?>
There are such incredible approaches on this release. Who are some of your biggest musical influences?
Our cats screaming at us for fresh meat, the humming of honeybees on our black locust tree, the mischievous raccoon babies living in our roof, distrust of the patriarchy, and the many ancestor song keeper women who came before us. And Bjork.
What's next for you now?
Filling our car with a preposterous amount of snacks and hitting the road for our summer 2026 tour!
Before we go, is there anything you'd like to express to fans and listeners?
If you ask Alina nicely, she will let you touch her bandura.
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