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4 out of 5 skulls

Revocation Deathless

If there’s one modern metal band that has their own unique and distinct (and consistent) sound, it’s Revocation. They’ve got key elements that they are able to pull into each subsequent album — and yet, none have sounded rehashed or as mimicking the previous. Deathless is just another notch in the progression of these guys. The trio delivers the goods while keeping their foot firmly planted on the accelerator.

And man, do the eleven tracks here drive! Sure there is ebb and flow throughout Deathless, but for the most part these guys have their booted (maybe Conversed) foot firmly planted on the accelerator. The guitars push from all directions, the rhythm section forces its way into your ear canals with malevolent intentions — all parts of this album roar like a well-oiled machine.

Right from the start of album opener “A Debt Owed to the Grave” we’re bombarded with driving, melodic guitars, rabid drum work and roiling bass lines. The band’s intent is clear with this one as they thrash through precise leads, blasting fills and catchy riffage. The title track delivers head-snapping mayhem with stuttering riffage and heavy-handed drums while the guys keep the groove and forward momentum pegged at 11. The third song on the album, “Labyrinth of Eyes” gets a bit morbid and darker overall tones and an injection of fairly cleanly sung vocals during the chorus — though they’re still somewhat unsettling.

“Madness Opus” keeps things bleak with burly riffage and deeper vocal grunts from frontman Davidson. There’s a good bit of groove within the chorus, as well that will have necks sore for a couple of hours afterwards. “Scorched Earth Policy” has some of the sickest guitar work on the release (as well as most rabid pace). “The Fix” is burly as fuck in its three minute and then some run time — the shortest track on the album — while the longest song, “Witch Trials,” is dynamic with progressive leanings.

I’m not sure there’s another band out right now that’s as consistent as Revocation has been in recent years. Hell, this is their second full-length in as many years and they still sound fresh without forcing innovation for innovation’s sake. The band knows what they play well and they stick to that meat-and-potatoes recipe with calculated soloing, dynamic songwriting and a stellar performance.

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