Register Forgot login?

© 2002-2021
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

What a way to start a career! - 95%

Feast for the Damned, May 22nd, 2019

Revocation has always been one of my favorite tech death bands thanks to their thrash metal elements. Considering how much I love them, I figured out I might as well start with this album before they changed their name. While I was expecting the well know sound of Revocation, I ended up completely shocked: This has barely anything in common with the sound that they will work with in the future. In my opinion there are 3 requirements for an album if it wants to be successful: It has to be released in the right time, It has to draw attention with the cover or advertising, and it also has to have some good fucking music on it. Spoiler alert: it fails at 2 of these requirements, but the quality of the music ain't one of those two.

The very first thing you will notice if you have been following Revocation is that the technical death metal with thrash elements kind of style is switched to technical thrash metal with death elements. On paper it might sound like there is no difference, but there is more than you would ever imagine. To spot this difference you don't even have to go further than the intro track Thrashterpiece Theatre. It opens up with a blasting thrash metal riff complemented with drums destroying your very soul with. Guess what? This can be said about the entire album!!! The constant top tier riffs with inhuman drumming and tastefully added bass. The amazing guitar solo parts should be mentioned also since they are extraordinary. All of these elements are mostly come from the tech thrash part so you may ask "Where are the aforementioned death metal elements?". Well those come to play in the vocals. The death growls and other kind of harsh vocals (e.g. pig squeal-ish vocals) complement the nicely flowing groovy riffs and the music in general. Also even though it was produced with a "non-metal producer" the production on this record is pleasing in every single way since every instrument is audible.

While from the aforementioned 3 things this album definitely has the quality of the music in the bag, sadly it flew under many people's radar. The album came out in 2005, yet it sounds like it came from the golden age. If it was released 10-15 years earlier this would be a classic by now, yet thanks to the "bad timing" (if we can call it that) and bad marketing this album barely gets the recognition it deserves.

Overall this is a brilliant way to kick of a band's career. Not only does this stand out as one of the greater albums from the band, it can also stand on it's own. It's easily better than the first full-length they released after the name change (more on that in a later review). If I need to choose the best unnoticed tech thrash album from the middle 2000s, this would be it without doubt.

There are no highlights since every song is equally awesome.

Shredding Patiently at the Edge of Sanity - 90%

bayern, February 19th, 2018

These guys later reaped much bigger fame under the name Revocation (six full-lengths released so far), but this recording here seems to deliver the goods in a slightly more convincing manner. Not that the Revocation repertoire is not worthy, on the contrary; the band have managed to rise to the very upper echelons of the technical/progressive thrash/death circuit in the past few years… It’s just that this opus shows a more original and a tad more creative stream of thought…

How does it do that? Well, for one thing, this is a heavy, very patiently woven take on the technical thrash/death metal idea. There’s absolutely no exhibition of rushing it anywhere regardless of the adherence to speed witnessed on a couple of tracks; imagine a choppier, crunchier version of Carcass’ “Heartwork” with a hefty doze of thrash and more prominent bass presence. And perhaps more proficiently executed leads like the ones on the opening "Internally Reviled" which will take your soul, overshadowing the interesting technical rifforamas which experience problems along the way, especially on the shorter numbers where the lead guitar work surprisingly becomes flashier, attracting more attention. Spasms of aggression are inevitable, and "Counterfeit Corporeality" satisfies this need eventually, remaining on the technical side as well, the latter accentuated on the longer and more elaborate "Rite of Initiation", a more modern proposition, too, with some groove sneaking in, but without ruining the monolithic intricate façade, the guys quite expert at using this 90’s gimmick without any fallouts.

Two fast-paced blitzkriegers (“Shadows and Steel” & “Chainsaw Sacrifice Ritual”) follow suit, hectic nervy technicallers with echoes of Atheist before "Caught Beneath Conscience" comes crushing down with more linear, steam-rolling guitars, breaking the elaborate “idyll” for a bit. “Man in the Dark” is a cool serene, semi-balladic instrumental with a great technical pirouette at the end, and the title-track sums up the whole carnival by combining all nuances into one highly entertaining riff-fest which doesn’t last very long (4 min only), consequently producing no dull moment, wrapping it on with style to spare with a great jazz-like epitaph.

The intense shouty death metal vocals seem to be the most ordinary ingredient on this multifarious opus which hits into the heart of the technical death metal brotherhood with its slow burning, plain anti-climactic at times, character. And, when the band decide to notch up the intensity, always as a deviation from the norm, mind you, the results are up there with the best in the fold. This effort is a very good reminder of several forgotten, very gifted acts (Coma, Technakill, Psychithrob, Pendulum) from the North American underground who exhibited similar skills in serving plenty of delightful technical moments for the fans without speeding up much if at all, including a few European visionaries like the Dutch Tefilla and the French Aleister.

The Revocation style is more eventful and more flamboyant, with more ingredients embedded into the volatile structure. Needless to add, speed plays a much bigger role on top of some jazzy/funky quirkiness incorporated on more recent efforts. And yet this opus here weighs more in a way; patience pays off, you know, and it had handsomely rewarded the band during their spawning stages with an excellent launching effort, a seismic behemoth that can be considered the perfect antidote to the insane hyper-fast shredding that’s befalling us on a daily basis nowadays. A nice warning to all boastful high velocity riff-mongers out there…