Unlike the other bands mentioned, Divine Eve is the brainchild of the evolutionary reformation of the genre, having formed only in 1992, and the band members’ collective involvement within the death metal scene surely not extending much beyond that. They were, however, inspired and motivated individuals, a part of the burgeoning Texas metal scene. Equitant of Absu designed their logo, for example, and Proscriptor released a compilation of all of their professionally recorded material in 2007. Despite not playing a notable role in the development of the genre as the bands previously mentioned had, however, Divine Eve managed to capture in their music something arcane and beautiful, working from the very beginnings in Celtic Frost and kneading out a triumphant new vision which is at the same time reminiscent of the past as well as triumphantly new. Though shortlived and somewhat of a late arrival, Divine Eve accomplished what few later bands managed to do, and that is to extend the vocabulary of the genre while remaining true to its essential form.
As a band formed in the early 1990s, Divine Eve was receptive to influences that bands such as Master and Hellwitch, who had a steadfast vision already well in place, were not recipient of. Aside from the abundantly obvious Celtic Frost influence, then, from which their primary musical textbook derives, one can trace the influences of early Cathedral and Entombed as well as Venom, Bathory, and Sodom.
Imagistic in nature, the band strives to capture in their lyrics the same aura as that captured by their choice of cover artwork, namely the work of Hieronymus Bosch for their lone EP, As the Angels Weep. “A Somber Blossoming (Soulsflight)”, for example, follows the path of a soul led by some anonymous being showing to this soul the world that he, as a “child of god,” cannot see through his “mind obscured by an unseen haze.” He tells this soul to “marvel at the gardens of desire, as you are taught to pass them by.” He says to “blaspheme the righteous and then in hell you’ll burn,” that “at the end of this life now [is the time] to purify,” to “observe the past and pitifully cry. Your life flows from your body as you look to the sky. Take your last breath and your soul will fly.”
It is not simply their lyrics which paint a portrait for the other senses to see, however. Compositionally, Divine Eve’s songwriting is also heavily focused on the creation of sonic visions, creating an atmosphere through which both reflection and resurrection are achieved. Combining the lessons learned from Celtic Frost and incorporating them into the intensely straightforward narrative structure of early Scandinavian death metal, enlightened by the extreme doom ornamentation of Cathedral’s Forest of Equilibrium, the music is one of contrast and juxtaposition, utilizing the primitive and barbaric fast paced Celtic Frost/Nihilist death metal riffs as a counterpoint to the slow, evocative harmonic passages which open up the listener’s mind to reflection and to the visions stimulated by what has come before, and at times foreshadowing what is to come after. This is indicative of the band’s craft as a whole. Throughout their endeavors resonates a sense of longing for an ancient spirit, a distant enigma that they had never possessed, only glimpsed. This reflects not only their interest in ancient times and traditions, but also their place in the history of death metal. It is perhaps the case that they feel they came on too late and long for the time that had come before them, and they try to capture both that time and the sense of longing in their music.
Divine Eve went on to record a three song promo tape, but split up in 1994. The project Crimson Relic was unearthed in 1995 which was an extension of Divine Eve including Xan Hammack, who produced but did not play on the EP, and Rhett Davis of Morgion after the former moved to California. Included on Crimson Eve’s Purgatory’s Reign are many songs which would have become the debut Divine Eve full-length album. As evidenced by the few overlapping recordings, however, Crimson Relic could hardly capture the same atmosphere of the Divine Eve line-up. In 2008, Divine Eve is resurrected. Whether or not they continue their legacy is yet to be seen. While in their ultimate creative period, however, the band provided the death metal enthusiast with an interesting look into the way that a niche sound could be developed and expanded upon, and perhaps could have even been worthy of influencing other bands to at the very least take the same course. They showed how expanding the vocabulary could be done successfully, and for that they deserve to be mentioned here along with the others.
