Revocation’s New Gods, New Masters: A Deep Dive into the Latest Metal Masterpiece

Introduction: A Fan’s Perspective

As a devoted fan of Revocation, I approach this review with a sense of excitement and anticipation. If you’re looking for an objective analysis, you might want to look elsewhere. This album, New Gods, New Masters, has quickly become one of my favorites of the year. It’s a testament to the band’s ability to evolve while staying true to their roots.

The Sound: A Heavy, Low-End Assault

From the very first notes, it’s clear that New Gods, New Masters is Revocation’s most aggressive offering yet. The album is characterized by a heavy emphasis on low-end riffing, featuring chromatic runs and molten harmonies that are sure to elicit some serious headbanging. Tracks like “Dystopian Vermin” showcase a relentless four-on-the-floor beat, while “Confines of Infinity” delivers militant chugging that invites mosh pits.

This isn’t entirely new territory for Revocation; fans will recognize similar elements from previous albums, such as “Godless” and the title track from The Outer Ones. However, the intensity has been cranked up to a level that sets this album apart, creating a sound that feels both braindead and genius—akin to the works of Nevermore.

Lyrical Themes: A Reflection on Modern Horrors

While New Gods, New Masters isn’t a concept album, it does weave a thematic thread that resonates with contemporary issues. The lyrics delve into the darker aspects of technology, particularly artificial intelligence and the cult-like idolatry surrounding tech innovators.

Tracks like “Sarcophagi of the Soul” tackle the unsettling realities of data aggregation and profiling by big tech companies. The album balances serious themes with a touch of humor, evident in songs like “Cronenberged,” which explores body horror, and “Sentient 6” in “Confines of Infinity,” where a malicious AI entity takes center stage. It’s refreshing to see a band tackle such relevant topics, especially in an era where many artists shy away from controversy.

Musical Structure: A Double-Edged Sword

Despite the album’s many strengths, it does stumble in certain areas, particularly in song structure. While each section of the songs is fantastic on its own, the transitions between ideas can feel disjointed. This isn’t a pervasive issue, but there are moments where a riff fades out only for an unrelated riff to kick in, which can be jarring for listeners who prefer a more cohesive flow.

Guest Appearances: A Star-Studded Lineup

One of the standout features of New Gods, New Masters is its impressive roster of guest musicians. Travis Ryan of Cattle Decapitation and Johnny Davy of Job For A Cowboy deliver some of their most visceral growls, adding depth to the album. Luc Lemay’s raw howls on “Buried Epoch” are a perfect fit, enhancing the overall atmosphere.

Perhaps the most surprising contribution comes from jazz guitarist Gilad Hekselman on “The All Seeing.” His shredding is a refreshing deviation from the norm, showcasing the band’s willingness to experiment and push boundaries within the metal genre.

Overall Impression: A Solid Addition to the Revocation Canon

In summary, New Gods, New Masters is another strong entry in Revocation’s discography. While it doesn’t drastically alter their established formula, the exploration of new ideas within that framework keeps the music feeling fresh. The album has already earned a spot in my regular rotation, and I can’t wait to see how it resonates with both long-time fans and newcomers alike.

New Gods, New Masters is out today via Metal Blade Records. Check it out on Bandcamp or the Web store.