Pale Divine: Doom Metal’s Missing Link

. . .

It’s a disturbing anomaly that a band who called in Bobby Liebling to contribute guest vocals to their debut (in 2001, when believe it or not, virtually no one outside of a small cadre of doom die-hards even gave a shit about Pentagram) and played the first ever Stoner Hands of Doom fest are still slogging it out in relative obscurity. With the aim of remedying this I bring to your attention: Pale Divine.

My first exposure to the band was at the inaugural “Born Too Late” festival back in 2003. Curated by Orodruin mastermind John Gallo, the gathering was a who’s-who snapshot of the US doom scene, and alumni including Unearthly Trance, While Heaven Wept, and The Gates of Slumber have since gone on to enjoy (much deserved) success. Inexplicably, Pale Divine still languish in the shadows even as traditional doom continues to lumber back into the wider metal consciousness. Gallo points to Pale Divine as one of the first of the 3rd generation of doom bands that took the ’70s grooves of Sabbath and Pentagram and fused them with the epic ’80s sensibility of bands like Candlemass and Trouble. As such, they were instrumental in paving the way for the likes of Orodruin, Reverend Bizarre, and The Gates of Slumber. “When [debut] Thunder Perfect Mind came out it blew my head off”, said John Gallo about why he chose to book Pale Divine for the fest. “They were an obvious choice for the first Born Too Late festival”.

The album kicks off with “Amplified”, which begins as a rousing doom anthem, but vocalist/guitarist Greg Deiner’s voice seems ill-suited to the upbeat side of doom. When Deiner opens his mouth, he emits a low-end rasp of raw emotion that sounds a thousand years old. During the slower, heavier parts of “Amplified”, we get a taste of what the band is capable of when firing on all cylinders, and despite clear influences from the get-up-and-go energy of bands like Pentagram and Witchfinder General, Pale Divine truly come into their own when trying to drag you down. Deiner’s raw, Blood Farmer’s-esque vocal style is also most likely what led some to initially label the band “stoner”, despite few musical similarities with the fuzzier side of doom.

Since Pale Divine’s inception, the core of the band has consisted of Deiner and drummer Darin McCloskey, also of ’70s throwback Falcon and previously of Sinister Realm. Various bass players and second guitarists have come and gone (including the cognitive dissonance-inducing lineup that played Born Too Late II, captured on video here:

. . .

Pale Divine – “I Alone, the Traveller,” live at Born Too Late II

. . .

But the soul of the band remains the same. McCloskey (sarcastically but lovingly referred to as “Mr. Excitement” in doom-circles, a reference to both his demeanor and drumming style) is responsible for anchoring the band through heavy riffs and psychedelia-infused jams alike, as well as contributing a world-weary and timeless lyrical perspective. Deiner’s playing has earned accolades from more far more qualified observers than I, but I will add that his riffs frequently land in that elusive sweet spot between heavy crunch and interesting noodling—the killer chorus riff in “Crimson Tears” (off their 2nd album, Eternity Revealed) is a prime example. Pale Divine’s riffs can both crush like a sledgehammer and then somehow delicately flit off on ethereal wings.

. . .

http://www.youtube.com/watch?v=C5-W9KzO2ME

Pale Divine – “Crimson Tears”

. . .

I regard their third album Cemetery Earth as their magnum opus. The crunch of Deiner’s tone is less organic: it’s beyond heavy and crusted over into a crispy scab of buzzing mechanical intensity. The mid-range cuts through like a knife, and although the production could be accused of being almost too clean, the crystal clarity puts an even greater emphasis on the masterful songwriting. Deiner’s tone helps create some of the catchiest slices of doom ever laid down, and the entire album is a treasure trove of memorable hooks. The best aspects of the first two albums seem to be concentrated and distilled here, and every time I listen to this album I fall in love with it all over again; each track always seeming somehow better than the last, finally culminating with the brooding epic grooves of “The Conqueror Worm”:

. . .

Pale Divine – “The Conqueror Worm”

. . .

Unfortunately, Cemetery Earth is currently out of print, and with label I Hate apparently uninterested in repressing it, those seeking it out will be forced to overpay for a used copy or resort to piracy. Hopefully with the impending release of their new album Painted Windows Black (currently undergoing post-production) on Shadow Kingdom, there will be enough interest in this massively underrated band to make Cemetaryofficially available again. Meanwhile, official releases that do remain in print, including the first two albums as well as the demo collection Crimson Tears and their recent split with Finnish legends Spiritus Mortis, can be ordered from distros like Hellride and Shadow Kingdom, or directly from the band by emailing [email protected]. An infrequently updated official site exists at paledivineband.com but those looking to keep up to date with the latest info about shows and releases should check out their official forum at Hellride Music Forums.