The Outer Ones - Revocation
- Release date:
- September 28, 2018
- Metal Blade
Revocation is a clearly competent and very serious group of artists, and although they have created a distinct and recognizable sound, they want obviously to develop their songwriting. On The Outer Ones promises americans their lydudtryk out of the stratosphere, partly through a more melodic and progressive approach, partly through the more acid in the individual pieces. The group has set itself a difficult task to juggle their core of technical thrash at the same time with melody and progression, but the grabs the balls far more often than they lose them. When a piece finally falls to the ground, it is the elongated instrumentalpassager, which loses the listener's attention, for piece-to-piece quality is high.
Not all of the modern thrash metal is the cult of The Big Four, and Revocation from Boston, is at the absolute top of their drop-C#-voted the fusion of technical thrash and death metal. The creative energies of guitarist/vocalist David Davidson and ditto Dan Gargiulo runs apparently never out of inspiration, and in spite of almost constant touring, they have released six studio albums between 2008 and 2016. Not only that, but Revocations releases used to be excellent – both the Revocation from 2013, Deathless from 2014 and Great Is Our Its from 2016, was praised by both critics as fans. It will be The Outer Ones also, if I have something to say.
The opener "Of Unworldly Origin", is a classic Revocation – fast, direct, and heavy. Each of the chords smells of Voïvods love to stack unusual tones on top of each other, which is a instrument which turns the back on the "That Which Consumes All Things". From here it becomes more glorious weird and spacey. "Blood Atonement" starts with a shaky, melodic double-guitar riff, which is replaced by two simultaneous melodies that weave in and out of harmonization. The title song uses the sudden chord change in the melodies, which gives a sense not unlike Gorguts' hjernegymnastik. In general, the group has written more melody into the songs and made sure each of the nine intersections have their own character, so nothing is pure repetition.
Not only that, it then becomes the expression of The Outer Ones become more and more progressive as it progresses. The songs are moving steadily forward, and each sees itself not back. In relation to "Great Is Our Sin" there is also attached a minute to the average sanglængde and Davidson and Gargiulo are using the time to pull storspillet forward. Words like "competent", "skilled" or "talented" comes to the map, the description of guitarduoen. The solos are of course amazing and greatly helps to send the sound up in the room – in particular, the scales have a floating expression, which is in sharp contrast to the hard riffing.
The album's B-side is essentially prog, which is of mixed quality. I'm not always entertained here, with long instrumental passages prevents the album from moving forward. The entire second half of the title track is devoted to the guitartrolddom, but accomplishes too little to maintain interest. "Vanitas" is very little that can be called thrash and works more like kunstmetal from outer space. Instrumentalnummeret "Ex Nihilo" begins with the direct great riffing, but continue more on it periodically. Most likely, it should be mentioned, that the Revocation "on the regular" still very much worth listening to.
>> Check the songs and lyrics here