Aug 132014

Revocation’s new album Deathless will be in stores on October 14 via Metal Blade (and on slightly earlier dates in Europe). Minutes ago the label began streaming the album’s title track on YouTube, and with a little net snooping I also found an image of the album’s cover art, created by painter and tattoo artist Tom Strom — which I like a lot.

I’m enjoying the song, too. It’s downright ferocious — fast, feral, and of course filled with blistering fretwork, but it bludgeons as well as it strips skin and the melody sticks. Also, those throaty clean vocals you’re going to hear work quite nicely. Check it out after the jump.

Metal Blade is accepting pre-orders for the album here. Continue reading »

Feb 062014

Welcome to Part 20 of our list of the year’s most infectious extreme metal songs. For more details about what this list is all about and how it was compiled, read the introductory post via this link. To see the selections that preceded the three songs I’m announcing today, click here.

I guess it’s about time we thrashed the bejesus out of da place. I’ll hold the verbiage to a minimum.


The album: Revocation  The song: “Invidious”

Dat banjo.  Doze solos.  Dat bass drop.  More words here and here. Continue reading »

Oct 172013

In this post we bring you two excellent new videos that premiered this morning.


The new video from Canada’s Kataklysm is for a new song — “Elevate” — that will appear on this veteran band’s latest album, Waiting For the End To Come. The song is somewhat surprising, in that it’s a bit of a departure from what might be considered the band’s typical style. It still thunders and howls, but as my colleague Andy Synn put it, it’s a lot more spacious and has a big central melody. There were even moments near the song’s end when I was thinking “melodic black metal”. I haven’t listened to the song more than twice yet, but so far it is solidifying my impression that Kataklysm are coming back strong and that Waiting could be one of their best albums in a long time.

The video itself is also excellent. Its jerky-jerky motion and dramatic atmosphere suit the music, and it’s really well-made and interesting to watch. Also, zombies.  You can’t go wrong with zombies. Continue reading »

Sep 232013

(Our Nottingham-based writer Andy Synn reviews the live carnage of The Black Dahlia Murder and Aborted in Manchester, England, on Sept 21, 2013.)

What a line-up, right? There was no way I was going to miss this show. Even going so far as to reschedule a Bloodguard practice for midday in order to give me enough time to get back, get changed, and head out again on my road trip across to Manchester.

So that’s what I did. Finished practice, pelted to the car, shot home, sorted my shit, out and dived back in the car. 80.5 miles. Approximately 2 hours travel time. Easy.

Hit a bit of traffic on the way, but no major issues. Navigated Manchester town centre without hassle (I grew up round there, so have a bit of an advantage) and parked up, finally rocking up to the venue just before seven…


I missed Revocation. Continue reading »

Jul 182013

(TheMadIsraeli reviews the new self-titled album by Boston’s Revocation. For another opinion, check out BadWolf’s review here.)

I’m pretty sure I should be in the ER right now for all the bones I just broke moshing and headbanging to this album, but duty calls.  Revocation’s S/T is pretty much the shit.  Maybe more than the shit.  Certainly their best album to date, most brutal, most technical, and just downright fucking nasty, grimy, and vicious in every way possible. Last year’s Teratogenesis EP in no way will have prepped you for this bad boy.  It takes no prisoners, it shows no mercy, I’m still trying to figure out how they managed to make an album this malicious and rabid.

Revocation, along with bands like Vektor and Sylosis, have really proved that one of the few ways (maybe the best way) for thrash metal to achieve legitimacy in the current world is to completely assimilate itself into death metal frameworks with jazz influences and black metal touches. In fact, this may be the new standard. I mean yeah, I heap praise upon bands like Evile and Havok, but I have no problem also saying that, as good as they are, they still pale in comparison to bands like Revocation — because bands like Revocation are paving the way for the future of metal as we will know it.

I know some observers already consider Revocation to be a “death metal” band per se, but I entirely disagree.  The band’s character is definitely more in line with thrash; the music is an organized anarchy, a barrage of Molotov cocktails and riot shields crashing into each other, the sound of civilizations collapsing beneath the frantic violence of life itself.  Nowhere is this more evident than on their new self-titled opus.  This record is chaotic as fuck and holds nothing but warriors’ pride in that fact. Continue reading »

Jul 182013

(BadWolf reviews the new album by Revocation. For another opinion, check out TheMadIsraeli’s review here.)

You pick up a record, and find one phrase, even one word, on the cover—it sends a message. “This is a singular experience. This word is the definition of these sounds, and vice versa.” A self-titled album, then, should either be a band’s self-estimated masterpiece, or, at the very least, a record that best encompasses a band’s sound.

One should not self-title an album lightly—to do so is to make a major artistic statement frivolously. It’s like a superstition—a dicey proposition. I can think of four self-titled metal albums off the top of my head: Metallica’s 1991 blockbuster, Avenged Sevenfold’s best-forgotten stinker, and Killswitch Engage’s two(!) eponymous records. All four fail at defining those bands. Metallica will always first-and-foremost be the band that recorded Master of Puppets; Killswitch Engage will always be “That band with the black guy that did the heartbreak song.” (Sorry, Jesse Leach).

Enter Boston’s Revocation, releasing their self-titled record just in time for this year’s Summer Slaughter tour. While I don’t see Revocation reaching the mainstream-appeal of the aforementioned bands, it’s realistic at this point to see the band making records as a career for the foreseeable future. Unlike most other bands playing technical-melodic-death-thrash-insert-adjective metal, Revocation can craft a good tune, and have a certain general appeal as well.

That appeal is David Davidson, the band’s lead guitarist/vocalist/songwriter, whose distinctive harsh vocals and expressive guitar leads give Revocation something most modern metal bands absolutely lack—personality. Honestly, the band should just call the album “David Davidson” and be done with it. Continue reading »

Jul 112013

Not long ago Metal Sucks premiered another new song from the next album by Boston’s Revocation, which is set for release on August 6 in NorthAm via Relapse. The new one is called “Invidious”. It is . . . how shall I say this? . . . a big-booted kick in the ass, plus banjo.

It romps, it stomps, it rocks, it rolls. It thrashes, it smashes, it swarms, it shreds (of course). It has a bass drop, it has a clean-ish chorus, it has gang shouts. It has hooks, it’s arena-ready. Plus banjo.

My only complaint? Needs more banjo.

Go HERE to listen for yourselves. If you haven’t heard the first song from the album that premiered previously, you can catch that after the jump.

P.S. This whole album is awesome. Continue reading »

Jun 182013

Boston’s phenomenally good Revocation have a new, self-titled album scheduled for release by Relapse Records on August 6. (It’s available for pre-order here.) Within the last hour the first advance track from the album exploded on YouTube. The song’s name is “The Hive” and damned if it doesn’t sound like a hive full of thrashed-up hornets swarming in a syncopated dance, bursting with venom and slightly delirious. A couple of those hornets bust out a sweet guitar solo, too.

Damned fine song, which you can hear next: Continue reading »

May 232013

Last night I was talking with my NCS comrade DGR about the fact that we never just copy and paste PR announcements, and about how uninteresting we find most announcements about new music that don’t include actual music. But of course there are exceptions, such as the two featured in this post, where the artwork alone is enough to catch my interest. Also, I’m more inclined to make exceptions when I’ve been out carousing late the night before and have awakened with a hammering hangover and all of today’s posts in various stages of incompletion. Hypothetically speaking, of course. I’m not saying I did that last night. But would you please speak very, very softly for the next few hours?


I have no new music from Revocation to share with you, unless you count the few song fragments that appear in the studio videos I’m going to stick in this post. What I do have is the artwork (above) for their fourth album, which I really like. It’s by Orion Landau, who has created album covers for the likes of Dying Fetus, Obscura, and Nile.

I also have a release date: August 6 (via Relapse). I have the track list, but I don’t know who really cares about song titles. There are ten of them. I also have the album title: its name is Revocation.

And then I have those two studio videos that have been released so far, plus I have tour dates. Most of these dates are for the SUMMER SLAUGHTER tour. Come to think of it, I don’t think we’ve yet posted the SUMMER SLAUGHTER schedule, so that might be interesting to some of you. Mainly I’m writing about Revocation because I’m a big fan. Also, could you please try whispering? Continue reading »

Oct 112012


The engineers at Scion have apparently figured out how to make time machines as well as cars. I know this because yesterday Scion A/V released video footage of a reunion show by Boston’s Revocation from the year 2055. The clip shows them performing “The Grip Tightens” from the band’s new EP Teratogenesis. The song seems to have stood the test of time, because all the geezers in the nursing home where Revocation crank up the song seem to be diggin’ it.

It’s really good to see that the guys have stayed together over the course of many decades, and that they can still cause women to throw their panties during shows. They’re still pretty spry, too, for a bunch of old fuckers. Sure, they need some oxygen supplementation and added dietary fiber, along with the occasional helping hand from the nursing staff, but fuck, they can still really bring the shred.

“The Grip Tightens” is a mind-blowing song. The video, directed by David Brodsky, is a really big smile, too — one of the year’s best. Don’t miss the cameo performance by guitarist Evan Duplessis from Sexcrement as Dr. PeePaw. Watch it after the jump. Continue reading »