It may have pure sonic venom coursing through its veins but there is something irresistibly inviting about the arts and crafts of the self –titled debut album from Norwegian metallers Revelation’s Hammer. Skilfully sculpted and ravenous in its hunger driven energy and invention, the release is wholly enthralling despite its spiteful air and offers certain reasons as to why the band is being talked of as the next big thing in Scandinavian black metal. Six tracks of compelling aural drama and rapacious antagonism, Revelation’s Hammer is an exhausting, thrilling confrontation.
Created by Accuser (vocals, strings, and concept) in 2007 for his musical ideas, the project was joined by drummer Bergh. His departure saw the recruitment of Myrvoll from Nidingr with the beginning of the creation of the album began January 2010. The recordings expanded over ten months due to several setbacks, with the album being mixed by Børge Finstad at infamous Toproom Studio (Mayhem, Borknagar), mastered by legendary Peter In de Betou (Watain, Dark Funeral), and additionally featuring a guest appearance from Exilis from Troll on some tracks. March of this year saw the Oslo based band sign with Italian dark metal label My Kingdom Music and as its seditious charms stalk the world one suspects the album will set Revelation’s Hammer to the fore of and ignite the current stance of black metal.
Obsessed Onslaught slowly crawls before the ear to start things off, its yawning sonic stretch and melodic call soon swept within an avalanche of destructive rhythms and equally ravenous riffs. As the intimidating guttural squalls of Accuser stare eye to eye with the listener and unleash their propaganda of malevolence, devious grooves strike out to seduce the senses whilst being still ravished by the vocal and lyrical grazing. It is a weapon the band and album uses frequently and persistently it persuades defences to relax allowing the annihilatory breath and intent of tracks to win their cause. Across its expansive length there is never time to catch breath before the next shift and evolution in direction and persuasion is ridden, that relentlessness only adding to the epic feel of the sound. As intriguing and eventful as it is barbaric, with blast beats pummelling the senses throughout and the excellently varied vocals holding a satanic compulsion in whatever guise they use, it is a striking and scintillating start.
The title track opens with another riveting grooved temptation before the vocals assault with a bedlamic hatred, their malice opening up the song for its corrosive and towering intensity to douse the senses in primal sonic filth. As its predecessor the track twists and flays within its invention, every corner of its course opening another rage of further blistering energy and captivating imagination. The savagery steps back as the climax approaches to allow its nightmare to unveil a sampled stark scenario before returning with a furnace of a finale which scorches ears and sears emotions.
The outstanding Den Blåøyde dances on the already wasted nerves and senses next, though its waltz is one of viciousness and sonic manipulation honed into a brutality which again across a varied gait has only full greed guiding its purpose. Within its immense appetite of violence the track has a web of melodic temptation and insidious beauty which secures honest ardour towards its just as threatening epic breath and virulently creative alchemy. The best moment of the album it offers all the evidence as to why the band is being harped over.
Both Buried as Filth and Avgudsdyrkelse continue to openly impress, the first seemingly bred from a warzone wasteland, sonic teasing skipping over its grave to offer further insanity whilst welcoming hostile futures crafted from the rhythmic maelstrom and riff loaded wall of intensity, The second of the two saunters in with a confrontational attitude and determined will to exploit all, which with further excellent senses examining rhythms from Myrvoll and the kaleidoscope of apocalyptic sonic enterprise from Accuser, it does with ease, senses and thoughts willing victims.
The thrash courting The Crown Of Malice which evolves into a blackened vat of serpentine degenerate toxicity you can taste on the lips, closes off the album with impressive and invigorating power. From start to finish the album only challenges and tests the listener but most of all rewards with one of the most striking and exhilarating genre debuts in a long time. Dare you face the Revelation’s Hammer?
Copyright RingMaster: MyFreeCopyright
Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from