Revocation – New Gods, New Masters Review
By Saunders
Following in the esteemed footsteps of resident Revocation expert Kronos is a daunting task. But with Kronos on an extended sabbatical, it’s time to step up as a long-term fanboy of Boston’s technical death-thrash juggernaut and put thoughts to their latest artistic endeavor, ninth LP, New Gods, New Masters. Mastermind Dave Davidson is joined by long-serving drummer Ash Pearson and newly minted members, Harry Lannon (guitars) and bassist Alex Weber, both seasoned underground musicians and hardly newbies to the extreme metal game. The other factor of interest is the addition of numerous guests, including Travis Ryan (Cattle Decapitation), Jonny Davy (Job for a Cowboy), lesser-known Israeli musician Gilad Hekselman, and Gorguts legend Luc Lemay. Is this a ploy of a band running low on ideas and seeking reinforcements, or a master stroke to add firepower to an already stacked arsenal?
Consistency has been a mainstay across Revocation’s now lengthy career. Occasional dips from the gold-plated standards of their unstoppable early to mid-career run notwithstanding, Revocation has never shit the bed or careened spectacularly off the rails. Nevertheless, nearing the twenty-year milestone since formation, the Angry Metal Guy’s Law of Diminishing Recordings™ looms ominously. Return to form Netherheaven brought a sharper focus and bloodstained atmosphere to the songwriting, delving deeper into Revocation’s deathly impulses with striking results. New Gods, New Masters stays on trend with recent efforts, charting a notably uglier, angrier route in comparison to their thrashier, playful early roots. Veering down increasingly gnarled and brutal spirals and weighing heavily into their deathly persona, New Gods, New Masters has serious fucking teeth, while failing to dull Revocation’s penchant for wildly inventive, technical material and progressive flourishes.
Rumbling into gear with gritty bass lines and thunderous drums, the opening title track ramps up tension before unfolding into a rugged, thrashy rager, complete with playful melodic break and typically mind-bending soloing. Cold and calculating, at its most beastly, New Gods, New Masters cuts an imposing figure, cranking heaviness to the max during the gritty, almost hardcore-leaning crunch of “Dystopian Vermin,” and venomous, blackened swarm of “Despiritualized.” Davidson’s vocals are at their most unhinged and anguished as the pair of gut-wrenching belters are further shaped by moody, unspooling solos, adding a touch of class and improv feel. Ginormous, lumbering grooves shake the core of “Confines of Infinity,” leaving a satisfyingly bruising punch, embellished by blistering blast sections, warp speed riffing, and killer guest spot by Travis Ryan. Featuring an impressively guttural Davy on guest vox, the awesomely and aptly titled “Cronenberged” is even better; its vicious, relentless intensity, mutated riffs, and authoritative rhythm section cut a brutal swathe into your scrambled brain. These are fine additions to Revocation’s stacked repertoire.
Standing out amongst its vocal counterparts, the brilliantly composed instrumental “The All Seeing” is a stunning piece. Pearson and Weber’s excellent combination and jittery, complex rhythms share the spotlight through a multifaceted, proggy journey, bolstered by intricate, groovy riffs and jazz-inspired soloing. Closer “Buried Epoch,” featuring Lemay, largely matches its weighty ambitions and song length, whipping blackened, death, thrash, tech, and prog ingredients into a pummeling, unpredictable, though largely cohesive epic. The new line-up doesn’t miss a beat, striking chemistry and maintaining Revocation’s trademark ear-popping technicality. Weber’s bass is afforded a chunky presence in the mix, lending melodic nuance and reinforced grunt to the album’s bleak, dystopian atmosphere, blunt force grooves, and brutal, uncompromising edge. The underrated Pearson puts in another exceptional performance behind the kit. Meanwhile, riff king Davidson and newcomer Lannon ensure Revocation’s axe-centric tech death-thrash arsenal and intricate, infectious riffcraft remains intact. Davidson’s corkscrewing, endlessly inventive solos feature soulful licks amidst bleaker tones, syncing with the album’s harsh, ominous atmosphere.
Injecting new blood into a familiar formula, New Gods, New Masters opens another shifting chapter for Revocation, though avoids spinning wheels. Marginally less consistent and compelling than Netherheaven, New Gods, New Masters nevertheless marks another fruitful return from Revocation. While it cannot quite match the band’s highest peaks, with songs falling more towards the very good rather than great range, New Gods, New Masters features the hallmarks of a grower. Initial reservations swiftly subsided, revealing another unique entry and exceptionally heavy, vitriolic burst of body slamming, thrashy tech death, catching songcraft and artful shredding.
Rating: 3.5/5.0
DR: 6 | Format Reviewed: 1411kbps mp3
Label: Metal Blade Records
Websites: revocation.bandcamp.com | revocationband.com | facebook.com/revocation
Releases Worldwide: September 26th, 2025
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