Revocation are back, and they have plenty to say about the world we live in. New Gods, New Masters is a sonically devastating statement that both continues and amplifies some of the nihilistic themes explored on Netherheaven, offering a prescient commentary on technology and humanity. As always, Dave Davidson’s technical prowess is front and centre, but this time he also delivers what may be his most powerful vocal performance to date.
As their fifth release on Metal Blade, New Gods, New Masters builds upon the strengths of its predecessor, particularly the effective use of guest features. “Re-Crucified” was a standout track on Netherheaven, bolstered by iconic contributions from Corpsegrinder and the dearly missed Trevor Strnad. This time, Revocation up the ante with four guest performers, each adding something distinct to the record. The album also showcases perhaps the band’s most refined balance between thrash and death metal to date, resulting in a sound that feels like the perfect summation of their almost 20-year journey. Notably, this marks the first album with two new members: Alex Weber on bass and Harry Lannon on rhythm guitar and backing vocals.
From the very start, the title track makes the album’s themes unmistakably clear. It’s a tightly paced, hard-hitting opener that ends in a descent into groovy chaos, and this is a motif that recurs throughout the record. The seamless transition into one of the album’s singles, “Sarcophagi of the Soul,” is a highlight. I admit that I had this one on repeat for longer than I care to confess upon its release. Weber’s bass lines shine in the track’s more rhythmically aggressive moments, anchoring a section that’s both vicious and irresistibly groovy. “Confines of Infinity” is a pure death metal menace, sinister from start to finish. The appearance of Travis Ryan (Cattle Decapitation) elevates the track even further, and like the other guest spots on the album, his contribution doesn’t just fit, but it enhances. “Dystopian Vermin” ramps up the tempo again before easing into a slower, ominous close, following a blistering solo and some excellent dual guitar harmonies. Revocation excel at ending songs with a sense of unraveling tension, leaving you uneasy in the best way imaginable.
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Midway through, “Despiritualized” offers a momentary calm before exploding into an unrelenting barrage of catchy riffs and a killer solo. Then comes “The All Seeing,” an instrumental track featuring jazz guitarist Gilad Hekselman. I wasn’t familiar with Gilad prior to this, but his contribution is immediately compelling as his playing integrates beautifully into the song’s structure. “Data Corpse” picks up right where the instrumental left off, with Dave sounding more menacing than ever. “Cronenberged”, inspired by the body horror films of David Cronenberg and, in title, Rick & Morty, is a sci-fi nightmare come to life. Jonny Davy’s vocal performance here is perfectly measured and his style meshes effortlessly with the song’s twisted narrative of a failed science experiment. A major highlight is “Buried Epoch,” thanks in large part to a guest spot from Luc Lemay of Gorguts. As a longtime Gorguts fan, this was a particularly exciting moment. At nearly seven and a half minutes, it’s a fittingly ambitious closer.
New Gods, New Masters is, without question my favourite Revocation record to date. It’s streamlined and focused, making it an excellent entry point for newcomers, while also offering long-time fans plenty to sink their teeth into. The guest features feel purposeful and enriching. As the world continues to spiral in the ways it does, it’s inevitable that some will have some thoughts on the matter, and Revocation have expressed theirs with clarity, fury, and conviction.
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Header image: Alex Morgan Imaging
New Gods, New Masters comes out 26 September
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