Skip to main content

Revocation: Revocation

Album Review

Tech-thrash wunderkinds show that moderation is the key

Everyone who knows these Boston death thrashers knows they can play. If they’ve showcased anything over the course of seven years, it’s their chops – sometimes to a fault. Admit it, ye olde Revocation fans without degrees in music theory: sometimes you’ve listened with thoughts like, “Wow, this solo would rule if it wasn’t so excessively long!” and/or, “That riff from four minutes ago killed. I wonder if they’ll ever get back to it?”

On album number four, guitarist/vocalist David Davidson – isn’t that a name just destined for stardom? – and his charges appear to have made it a mission to illustrate songwriting acumen alongside their obvious playing ability. In fact, they go as far to hoard the divergent skittishness and Song-With-A-Million-Riffs into the instrumental Spastic

Outside of that, in The Hive, Fracked and Invidious (especially so, considering a banjo introduces the main riff) Revocation highlights growth via restraint. The riffs are just as finger-twisting and mindfucking, but they’re also recognisable and chipped away at more by traditional songwriting values like coherence, structure, linearity, impact and catchiness.

Get Involved

Trending Reviews

Promoted

Top