Every now and then amongst a plethora of great releases there is one album that goes a little further and deeper to pleasure and ignite every sense. Chaos of Forms from Boston metalers Revocation is one such glorious album, a release that taunts, teases and then delivers the most inspired and satisfying sounds. It does not take too many seconds of the opening track to suggest and instantly prove that the album should go down as one of this year’s most essential and rewarding releases. It is lively, hectic and thoroughly hypnotic with a blissful blend of thrash, death, and technical metal intricacies that mesmerise on every level.
The trio of David Davidson (guitars / vocals), Anthony Buda (bass / vocals), and Phil Dubois (drums) follow up their acclaimed Existence Is Futile of 2009 with all the essences that made that release so impressive. On Chaos of Forms everything is raised to greater heights, the unrelenting flow of intense siren like riffs powerful and instinctively direct with the blistering energy produced consuming and animating every synapse and sense. Intertwined are some of the most elaborate and mesmeric melodies found anywhere, and to finish off such impressive sounds there is a glorious unpredictability and waves of unexpected diversions oozing out of every song. It is unlikely there can ever be the perfect album but Revocation come very close with Chaos of Forms.
The one major difference to its predecessor is the addition of guitarist Dan Gargiulo to the ranks, his concise skill and sounds complimenting the undeniable ability and creativity of Davidson to bring an even sharper edge and artistry to the music. Together they produce stunning sounds and ideas that ripple and pulsate from the heavy thrash/metal riffs to the engaging and catchy melodies, not forgetting some of the most hypnotic and ingenious progressive technical metal wizardry to grace any ear. This even more impressive sound and creativity cannot be put down simply to Gargiulo’s addition as everyone has found another peak from the rhythmic beats produced by Buda’s bass to some of the more impressive drumming display shown anywhere for many years from Dubois, but certainly as a quartet there is an even greater animated vision and stimulus to the music.
From the opening devastation within first track ‘Cretin’ the album simply dictates the next 50 minutes of one’s life. There is so much going on that it is impossible to lose focus or become bored, every song alive with unexpected elements spawn from high calibre songwriting. The deep growling basslines and eager aggression within next track ‘Cradle Robber’, plus the urgent punk thrust of the straighter thrash fuelled ‘Harlot’ combines with the opener to bring one of the best openings to any album in a long time. Not that the quality or satisfaction slips in any degree across the length of the album.
Though direct and verging on violent the first three songs are more intent than intrigue even though crafted with plenty of wonderful twists and turns. It is with ‘Dissolution Ritual’ and its wonderful prog jazz mid way meandering that the heart of songs are really shuffled up and the imaginative originality they conjure unleashed on eager ears. The black/death metal muscles of ‘Conjuring The Cataclysm’ veined with scorching progressive metal flows and thug harmonies, the wonderful jazz funk excursions of ‘The Watchers’, and the hardcore/metal brutality of ‘Beloved Horrifier’ a song with the combined might of Brutal Truth and Converge, contain flavours and spices as diverse as they are addictive.
Chaos of Forms is immense, an essential investigation for all who entertain metal sounds in any form. If there is any negative to the album it is still hiding despite complete plays running into the teens. This may well be the album of the year, without doubt certainly top three.
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