Revocation – Self Titled

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Set in a cauldron of scalding destructive riffing, stinging rhythmic confrontation, and broiling intensity which is bred from a technical craft which steals the breath from thoughts and lungs, the new self-titled album from US metallers Revocation is a colossal tempest of invention and sonic vitriol. Confirming the suggestions provided on the Teratogenesis EP of last year, the album takes things further to stand forcibly as not only the best work the Boston quartet has sculpted but one of the pinnacles of this year.

The fourth album from the band follows and builds on the success of previous 2011 album Chaos Of Forms reinforcing the line-up of David Davidson (guitars / vocals), Dan Gargiulo (guitars / vocals), Phil Dubois (drums), and Brett Bamberger (bass / vocals) who is making his recording debut since joining last year, as one of the most potent and invigorating metal bands around. The Relapse Records released album again sees the band stretch and twist their mix of death, thrash, and technical metal into something distinct and captivating but with a further evolution of imagination and inventive craft and hunger. The manipulative charms and potency of their sound is also elevated into richer devious toxicity making the release an unpredictable, scintillating, and enthralling scavenger of emotions and passions.

As the distinctly threatening avenues of The Hive open up their shadows to welcome the listener, thoughts and senses are fearing the GD30OB2-N.cdrworst impending danger, and as the song erupts into a ferocious torrent of tight waspishly honed grooves and rampaging rhythms all assumptions are wonderfully confirmed, the track immediately a tempest of psychotic violent magnificence ridden by the guttural charms and malevolence of the vocals. The at times three pronged vocal attack is a tasty additional violation especially when caged within the staggering rhythmic tsunami of Dubois. It is a stunning start which just as you think you have its reins in check launches into a progressively hinted fire of sonic sorcery, the guitars of Davidson and Gargiulo mesmeric and lethal simultaneously.

The following Scattering The Flock has a swagger and underlying heavy groove as rapacious as the flesh peeling aggressive sounds surrounding it. There again is a lack of mercy in the undiluted expanse of ideas unveiled and thrust violently ross the senses, the shifts harsh and like battering rams at times but so superbly crafted they feel seamless and a natural progression of the riveting confrontation.  The band almost borders on fusing too much together but where others would fall in to chaos, in their hands it is a controlled and precise piece of composition, a perfectly sculpted sonic antagonism of cutting beauty.

The excellent start is matched by the equally impressive Archfield and then elevated by the exceptional Numbing Agents, the first launching from an enticing stroll of drum beckoning into a sonically hued emotive fire and the second breeding a slight hardcore nastiness to its carnivorous bite with acidic grooves and barbed hooks lying in wait for the passions within another tempestuous squall of breath-taking dexterity and senses slaughtering enterprise. With a sense of Retox to its individual declaration upon the album, the track is an absorbing pinnacle but soon challenged and given a run for its money by the predacious and magnetically charged Fracked. A wolf in a technically woven deceptive cloak of warm grandeur, the song clasps its jaws around the senses from its opening seconds, its throat snarling and grip tightening whilst the guitars paint a melodic narrative of sonic colour which feels welcoming but is secretly also corroding the defences. It is a glorious temptation which persuades with ease that its spite is a good thing, no arguments here.

     The Gift You Gave is a deeply pleasing if less dramatic and imposing triumph as its predecessor but sets up the next mountainous peak on the album Invidious and its lethal captivation. As the ever impressive drums of Dubois creates a tower of punching rhythms insistently aided by the dark bass conjuring of Bamberger alongside flames of guitar, they are interrupted by a dance of banjo which teases and surprises before being consumed by the full force of sound and vocals delivering what can be best described as Cajun death metal. Ok that is a little misleading but such the call of the southern twang and irrepressible mischief of the track it is hard to use another suitable descript. A sublime storm of inventive metal, the song stands at the peak of the album and in many ways leaves the remaining tracks to put away the chairs and switch out the lights.

The last trio of the technically mesmerising instrumental Spastic with its bedlamic mystique, the voraciously expressive Entombed By Wealth, and the emotionally esurient A Visitation are certainly not making up the numbers though, each in their distinct ways startling sonic and melodic narratives upon insatiable rhythmic canvasses and tenaciously rigorous intensity.  Revocation has set themselves up on one of the top tables of metal with their fourth album and provided one of the year’s top contenders. Quite brilliant is the only thing left to say.

https://www.facebook.com/Revocation

10/10

RingMaster 05/08/2013

 

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Revocation – Chaos of Forms

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.

RingMaster 29/11/2011

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