Thursday, December 17, 2009

Pale Divine - Eternity Revealed

Incorporating throwback, seventies-style production (for that primo Sabbath vibe), well-thought out songwriting and a propensity for making the most of upfront, blues-rock thunder, Pale Divine conjures up a noteworthy display of doom on “Eternity Revealed.”

Frontman Greg Diener handles both the guitar and vocal duties for this trio, spitting out bluesy metal licks that a particularly foreboding atmosphere. As a vocalist, Diener has a nice range and puts a bit of balls into his talented, melodic vocalizations, especially during the bridge “Sins Of The Fallen” which turns from shimmering chords and rolling polyrhythms to a dirty black death march that will satisfy fans of Danzig and Trouble alike. When the band really throws it down during the track’s solo section, present-day Corrosion Of Conformity springs to mind as a point of reference. The loose, wah-fueled jam that ensues shows that above all, Pale Divine knows how to get deeply into a bottom-heavy jam without becoming stuck in the mud.

A similar doom grunge is distinctive during the track ‘Martyrdom’, as bassist Jim Corl and drummer Darin McCloskey team up for a Zeppelin-inspired backbeat and Diener lets a fretboard-torching solo loose. During other standouts like ‘Crimson Tears’ and ‘Serpents Path’, Pale Divine strives toward an apocalyptic sort of rock that is unpolished and unforgiving. A gloomy, quite competent rendition of Candlemass’ ‘Solitude’ shows this band is not afraid to wear its influences on its sleeve. As a bluesy jam with an almost Hendrix-like solo leads to a flurry of arpeggios over top the famous dirge on the track’s main riff, Diener truly shines as a guitarist. As the verse reprises, the roots of this group’s influence grows to be even more apparent.

Although this band may just get lumped in with the sea of so-called “stoner” acts on the scene today, such a tag might be a disservice as the majority of the music made by Pale Divine is decidedly more metal than most who wear that mark. The band redirects Sabbath sounds into a new realm focused on shredding jam sequences (at times, Diener’s axework is not far removed from that of Ted Nugent in his glory days) and roaring, fuzzy melodies that are choice enough to satisfy any fan of Cathedral, St. Vitus, Kinghorse, and any of the bands mentioned above.


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