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Today I am excited to review a group from my hometown, the
Boston-based tech death outfit, Revocation. They recently released their fourth, self-titled album, Revocation (Relapse Records). With this review, I’m going to get
straight to the point. These guys
put the technical in technical death metal. Revocation unleash a furiously proficient sound that still
includes the catchy hooks and infectious riffs that keep a listener from
getting lost in the technicality.
This combination makes for music that is an absolute pleasure to listen
to. In addition, this album goes
above and beyond the call of brutality.
From track to track, Revocation discharge an utter blitzkrieg of metal
fury, delivering in terms of speed, volume, and vocal intensity. This self-titled release will
thoroughly stimulate your grey matter while melting it to mush at the same
time. Revocation is more than worthy of your time, money, and hearing
loss. If you’re not already
hustling to your local record store, let me break down why you should.
First,
the guitar work is phenomenal. If
you haven’t yet heard about frontman David Davidson, then put him on your radar
screen because he is a wizard of the six-stringed wand. He unites a plethora of sounds under
the banner of dauntingly dexterous death metal. Blending jazzy atonality, thrash-like chugs, and undulating
grooves, Davidson keeps the listener attentive and engaged. He even throws in the occasional
acoustic segment and melodic passage to fully flesh out his unique style. On “The Hive,” erratic, dissonant
progressions dart about in a mesmerizing fashion. On “The Gift You Gave,” aural chaos transfers seamlessly
into refined, regimented riffage.
Davidson’s composition on this album is definitely a strong point. Despite warp speed fingering, he builds
elements steadily, casting a dramatic aura. His style is not simply a display of technical bravado; it
captivates the listener, appealing to both mind and emotion. Riff sequences feel calculated yet flow
naturally, fusing mathematical precision with raw aggression. As for Davidson’s soloing, it can only
be described as masterful.
Revealing his varied influences, Davidson’s solos showcase everything
from the jarring atonality of death metal to the colorful shredding of thrash
to the blues-based virtuosity of classic rock. His vocals are energetic and fitting as well. They resound like howls escaping a
tormented soul as its life essence is siphoned away.
Complementing
the guitar work, skilled bass play adds to the depth of Revocation’s composition.
The bass lines don’t simply follow the guitar in understated
subservience. Instead, the
musicians of Revocation construct layered dissonance and intricate interplay
between guitar and bass, emphasizing moments of frantic desperation, melodic
lament, and overflowing ire.
As
the backbone of the group, Phil Dubois-Coyne delivers jaw-droppingly brilliant
drums. Davidson’s guitar only
slightly overshadows his percussive onslaught. Dubois-Coyne’s steady-handed yet intense style tugs the listener
along for a turbulent ride. Tight
and unrelenting, the percussion pummels you with the power and strength of a
pugilist. Blasts beats and double
kick drum rhythms create a sonic blur, like tires speeding over a
corrugated surface. Dubois-Coyne’s
adroit drum display certainly rounds out this highly technical release.
In
every aspect, this album blows me away.
Each song brings the same pace, same fervor, and same technicality while
feeling totally fresh. You can
tell that the band had fun making this album. They present a no-holds-barred incarnation of the
bludgeoning death metal sound while working in a varied array of external
influences. You can tell that they
composed with no restrictions, incorporating whatever they thought sounded most
righteous. In my opinion, this
album is flawless, and I’ll stick my neck out and give it my highest score.
Score: 10/10
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