{"id":168557,"date":"2025-09-25T17:25:13","date_gmt":"2025-09-25T17:25:13","guid":{"rendered":"https:\/\/www.newsbeep.com\/au\/168557\/"},"modified":"2025-09-25T17:25:13","modified_gmt":"2025-09-25T17:25:13","slug":"amg-goes-ranking-revocation","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/au\/168557\/","title":{"rendered":"AMG Goes Ranking – Revocation"},"content":{"rendered":"

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Revocation makes me feeling fucking old. It\u2019s difficult to believe fifteen odd years have passed since stumbling across their phenomenal sophomore effort, Existence is Futile. It became instantly clear Revocation were one of the fresher, most exciting bands emerging in the modern metal scene of the era. Their career seemed to propel in fast forward as they pumped out top notch album after album, maintaining an impressive work rate and exceptional consistency, while refusing to repeat themselves. Couple of minor bumps along the way notwithstanding, Revocation\u2019s vibrant, signature combination of technical death-thrash, infectious songwriting and acrobatic guitar hero shreddage from mastermind Dave Davidson has long cemented Revocation as a titanic force in the crowded realms of the modern metalverse.<\/p>\n

Formed in 2006, the Bostonites unleashed their brash and confident debut Empire of the Obscene in 2008. From humble but exciting beginnings the Revo boys have proceeded to go on an absolute fucking tear across multiple albums, the most recent being the darker pathways and heavier pastures of 2022\u2019s Netherheaven, arguably a return to form. Though in fairness Revocation have never dropped a dud, and despite a couple of minor career lulls, they have remained a dependably consistent force to be reckoned with.<\/p>\n

September 26th, 2025 ushers in Revocation\u2019s ninth LP, New Gods, New Masters. As anticipation grows for the star packed opus, what better time for our resident Revocation fanboys; including the return of the illustrious Kronos, who so eloquently championed the band on these very pages across multiple releases with his insightful wordsmithery and critical analysis, to unload our collective opinions on the band\u2019s formidable discography. Nearly twenty years since their formation and boasting a catalog of rare consistency and power, we have our work cut out for us. Strap yourselves in\u2026<\/p>\n

Disclaimer: After careful consideration we have actioned the Human Waste\/Despise the Sun Ranking Law of including Revocation\u2019s highly regarded Teratogenesis EP from 2012 due to the consensus this is a meaty and essential mini-platter in the power packed Revocation repertoire.<\/p>\n

The Rankings
\nSaunders<\/p>\n

\"\"#9. The Outer Ones <\/a>(2018) \u2013 While difficult to pinpoint, The Outer Ones remains an elusive Revocation album, and one I reach for least frequently, despite being one their more recent offerings. Although The Outer Ones doesn\u2019t deviate savagely from the vice-tight yet elastic formula Revocation long since mastered, it leans deeper into murkier blackened death forays and features a cold, clinical and dissonant edge. Its darkly menacing sheen and blasty, death forward approach is responsible for some rousing moments and it\u2019s easy to admire the album\u2019s frantic, calculated intensity. Tunes like the rip-roaring opener \u201cOf Unworldly Origin,\u201d chunky brawler \u201cThe Outer Ones\u201d and the thrashy, proggy blackened death of \u201cLuciferous\u201d highlight an album that has grown on me but ultimately falls short of the band\u2019s other works.<\/p>\n

\"\"#8. Empire of the Obscene (2008) \u2013 A bold and potential-packed debut, Empire of the Obscene rises well beyond a mere curiosity or roughshod early edition of Revocation\u2019s rapidly evolving sound. I came to the debut after being first enamored by Existence is Futile and Chaos of Forms, both superior examples of the band\u2019s exceptional early career highs. Still, Empire of the Obscene is a killer debut and refreshing, slashing technical thrash opus, with a healthy smattering of death. The vibrant, raging \u201cTail from the Crypt\u201d is an early career highpoint, while other choice cuts include the bizarro \u201cSuffer These Wounds,\u201d and rippling axerobatics of \u201cExhumed Identity.\u201d It\u2019s solid stuff, yet inconsistencies creep in and some of the writing feels a tad overcooked, falling short of the ripping high standards and impeccable writing featured across the Revocation career arc<\/p>\n

\"\"#7. Great is Our Sin <\/a>(2016) \u2013 Perhaps the first time upon release a Revocation release failed to gain immediate traction. Again the sheer strength and power of its predecessors found Great is Our Sin fall a fraction short of the impeccable standards maintained during the first half dozen or so years of the band\u2019s recording career. And it feels like an outlier merging the band\u2019s different eras, pre and post-Revocation. Playful tech thrash energy, proggy dabbling, and darker, deathly pummels are in abundance, as per expectations. I appreciate the more thrash-centric turns, less prominent in their later era. Great is Our Sin features many of the strong attributes listeners have come to expect, sounding like a melodically mature yet overly familiar and safe album. The songwriting is consistently solid, featuring the odd flirtation with greatness. Old school flavored thrasher \u201cArbiters of the Apocalypse,\u201d the prog-infused death-thrash of \u201cCommunion,\u201d sinister, punishing thrust of \u201cOnly the Spineless Survive,\u201d and epic, experimental rumble of \u201cCleaving Giants of Ice\u201d are nuggety examples of the album\u2019s finer moments.<\/p>\n

\"Revocation#6. Netherheaven <\/a>(2022) \u2013 Netherheaven marked a refreshing return to form after the solid if underwhelming, The Outer Ones. Kronos hit the nail on the head when he proclaimed Netherheaven to be the natural successor to Deathless, as similarities in tone, mood and execution are evident. Revocation flexed their deathly muscles and advanced musicianship in service of complex, yet undoubtedly catchy compositions, such as the brutally groovy throes of \u201cNihilistic Violence,\u201d labyrinthine trip of \u201cStrange and Eternal\u201d and blast-addled, vocal trade-off on scorching closer \u201cRe-Crucified.\u201d Despite being enveloped with shadowy, sinister atmospheres, Netherheaven is imbued with a fun, adventurous spirit, also resulting in one of Revocation\u2019s heaviest offerings. Davidson\u2019s ever inspiring axework never ceases to amaze and songwriting finds a real sweet spot between grooving, chunky chugs, technical mastery, and throwbacks to their thrashy roots. Meanwhile, his increasingly versatile and confident vocals remain a somewhat underrated aspect of the Revocation experience. Not a career high point, but a great album nonetheless.<\/p>\n

\"\"#5. Deathless <\/a>(2014) \u2013 Revocation\u2019s distinctive formula has long separated them from the hordes of tech death and thrash bands in the scene. One of Revocation\u2019s greatest attributes is their ability to manipulate their craft and pivot in versatile directions. Deathless emerged as a darker, sinister trip down a fittingly deathlier path, creating a welcome stylistic deviation to evolve and keep any semblance of stagnation at bay. Though follow-up Great is Our Sin slightly deviated, Deathless marked the beginning of Revocation embracing the darker corners of their psyche, charting murkier, heavier and altogether more brutal, unforgiving terrain. Thankfully, Deathless didn\u2019t abandon their knack for penning challenging, infectious, thrash-powered tech-death jams. Nor does Deathless forget how to have fun, as evidenced by the shout-along chorus and straightforward headbangable riffs adorning the title track. However, Deathless\u2019 most impactful, jolting moments are delivered elsewhere. Classic opener \u201cA Debt Owed to the Grave\u201d and the cutthroat \u201cScorched Earth Policy\u201d unleash vicious yet eloquently delivered evidence Revocation still thrash with the best of them. While the immense \u201cMadness Opus\u201d channels Revocation\u2019s progressive inclinations within a barbed, death metal shell. Top-tier stuff.<\/p>\n

\"\"#4: Revocation<\/a> (2013) \u2013 The dark horse and underrated gem in the Revocation kit bag, their self-titled effort sparkled between the stunning Teratogenesis EP and the brooding tones and violent stomp of Deathless. Though not regularly mentioned amongst the band\u2019s finer works, Revocation demands regular attention amidst an increasingly stacked catalog. Following up Chaos of Forms was always going to be a tough ask, however, Revocation proved up to the challenge. Revocation is a playful, quirky, fun-filled blast from go to whoa, keeping Revocation\u2019s ever-evolving formula fresh and inspired. The versatile songwriting makes for a consistently gripping listen and one of their more diverse offerings. Whether belting out aggressive, full-throttle tech-thrash workouts (\u201cThe Hive,\u201d \u201cNumbing Agents\u201d), warped tech death beatdowns (\u201cFracked,\u201d \u201cScattering the Flock\u201d), banjo-infected riff monsters (\u201cInvidious\u201d) or mosh-ready juggernauts (\u201cArchfiend\u201d), Revocation has all bases covered. A slightly more stock backend the only thing diminishing an otherwise top-notch album.<\/p>\n

\"\"#3. Teratogenesis<\/a> (2012) \u2013 Only the most curmudgeony, glass-half-empty pessimist discounts the short and sweet value of the often underrated EP format. Continuing a creatively booming and prolific hot streak, Teratogenesis is a wild, breakneck ride featuring the Revocation lads operating at the peak of their powers. New and old listeners alike would be foolish to neglect this action-packed beauty. If there is something slightly lacking in Revocation\u2019s later career, it misses the outrageously fun and turbo-charged thrashiness and technically dazzling though infectious spirit so prevalent on Teratogenesis and surrounding releases. Revocation\u2019s eye-popping instrumental prowess and whipsmart songwriting serve genuinely well-crafted, catchy songcraft and a bevy of sharp turning dynamic twists and killer riffs. \u201cThe Grip Tightens\u201d bottles everything great about the Revocation sound into a career stunner. Elsewhere, \u201cManically Unleashed\u201d unleashes cracking bursts of tech thrash precision amidst intricate melodic breaks and soul-searching solos, while \u201cBound By Desire\u201d closes proceedings with a blast and thrash-riddled bang, replete with gorgeous melodic soloing and proggy touches.<\/p>\n

\"\"#2. Chaos of Forms (2011) \u2013 Weirdly enough, I recall being fleetingly underwhelmed when Chaos of Forms dropped. Expectations were sky high, and Chaos of Forms represented a different beast to its immediate predecessor. Featuring an aggressive though more lighthearted, freewheeling tone and experimental streak, Chaos has long since become a personal favorite and modern metal classic. It is also rather simply the most fun Revocation album. Davidson is in his element, firing off some of the finest solos of his career to decorate fast-paced, quirky tech death-thrash compositions, aided by an unstoppable line-up, including the first to feature guitarist\/vocalist Dan Gargiulo (Artificial Brain), adding an exciting extra dimension to the band\u2019s sound. Unleashing a trio of instant Revocation classics right off the bat courtesy of \u201cCretin,\u201d \u201cGrave Robber\u201d and \u201cHarlot\u201d, any notion Chaos of Forms being front-loaded is swiftly demolished as the album unfurls with banger after banger. From the melodic, singalong chorus of \u201cNo Funeral,\u201d through to the brainy, twisting riffage of the title track, zippy, thrash-laden charge of \u201cBeloved Horrifier,\u201d and densely packed, stuttering tech death of \u201cReprogrammed,\u201d Chaos is a versatile, sparkling jewel in the Revocation canon.<\/p>\n

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#1. Existence is Futile (2009) \u2013 Beyond the endearing factor, this was my first Revocation album and the warm fuzzy nostalgia associated; Revocation\u2019s astonishing sophomore belter Existence is Futile emerged as a bottled lightning moment. Revocation\u2019s impressively acrobatic musicianship and technical prowess was accelerated to new heights. However, the bulletproof songwriting and smart, yet dazzlingly intriguing arrangements were grounded by tight and aggressive songs that pulled no punches. An astonishing leap forward from an already exciting and accomplished debut, Existence is Futile has a raw energy and speedy, exhilarating urgency backed by polished, intricate songwriting, parasitic hooks and the warped, unmatched musicianship and advanced shreddery we have now long come to expect from Davidson and crew. Songs are largely stripped back in length from the debut, pared down to the bare essentials, maximizing impact. Davidson\u2019s underrated vocals sound as vital as ever. A thoroughly gripping listen front to back, with the likes of \u201cPestilence Reigns,\u201d \u201cDeathonomics,\u201d \u201cThe Brain Scramblers,\u201d \u201cReanimaniac,\u201d \u201cDismantle the Dictator\u201d and ambitious closer \u201cThe Tragedy of Modern Ages\u201d a handful of essential cuts.<\/p>\n

Kronos<\/p>\n

\u201cPlease help!\u201d prayed my erstwhile colleagues, \u201cour taste is underdeveloped to a near-blastular degree, and we are oh so disdraught! We seek but a simple ordination of technical death-thrash records but lack the True Knowledge of quality!\u201d<\/p>\n

Now moved, I descend from on high, gracing them not just with my presence but with my very acknowledgement of their pitiful existence: in one hand my catechism, in the other my nose. For those enlightened beyond the reflexive need to communicate the truths of quality, the ordering of Revocation records is a simple thing. One needs only to recognize the generational talent and drive of a one Dave Davidson, the extraordinary caliber of musicians that he has surrounded himself with, and analyze the triumphs and, shall we say, try-umphs, of their many recordings with an objective eye informed by a coherent understanding of the material and aesthetic universe in which they occur.<\/p>\n

\"\"# 9 The Outer Ones (2018) \u2013 Revocation built a career based on an inseparable trinity of inventive riffs, creative songwriting, and infectious fun. In 2018 they denied this trinity and were cast into oblivion for four years thereafter; sentenced to relentless touring in which they played The Outer Ones lethargic and self-serious tech death alongside probably fifty other bands peddling similar stuff but more committed to it. That The Outer Ones seems to be their most popular release is a testament to the essential wickedness of our heathen age, that so many will follow a false prophecy.<\/p>\n

\"\"#8 Great Is Our Sin (2016) \u2013 Indeed, but Revocation\u2019s Slayer-worship record might have been better named Great Will Be Our Sin, given that its follow-up was The Outer Ones. But the title gets the point across; this was at the time their nastiest, deathiest album. Muscular and mean, Great Is Our Sin attempted brute-force repentance with burly but brainy tracks like \u201cMonolithic Ignorance\u201d serving up festering fun and \u201cOnly the Spineless Survive\u201d providing the band\u2019s most brutal beating until Netherheaven. Cruel as a crucifixion, Great is Our Sin is a treat, but not a joy, to experience, with too much of its runtime given to grinding grooves that don\u2019t showcase the band\u2019s strengths.<\/p>\n

\"\"#7 Empire of the Obscene (2008) \u2013 In a way, it\u2019s stunning to see how far Revocation have come since their debut: not far at all. In this we are confronted by the theopneustic nature of their art; seventeen years on, we can expect New Gods, New Masters to sound basically like Empire of the Obscene. This is death thrash that, while more fun than a barrel of monkeys and twice as rowdy, is impossible to find corny because it\u2019s just too perfectly executed. For a young band, Revocation have a self-assuredness that evades many veteran groups, even as the death-thrash trinity\u2019s endless invention pushes fast-moving songs up to and past the five-minute mark. From the dry but clear production, grinning art-school riffing to the waggling, showboat jazz soloing, every surface of the Revocation mold is here for the band to crack and ooze out of and pull away from on future recordings.<\/p>\n

\"Revocation#6 Netherheaven (2022) \u2013 Netherheaven saw Revocation a three-piece for the first time since Chaos of Forms, and on firm footing as ever to make their first devoted death metal record. Netherheaven\u2019s highlights (\u201cGalleries of Morbid Artistry\u201d and \u201cRe-Crucified\u201d) unfold like intricate torture machines from a macabre storybook, but mean, mid-paced grooves stick together and weigh down far too much of the record\u2019s runtime. Netherheaven recovered much of the charm that The Outer Ones jettisoned but doubts as to the band\u2019s future form remain.<\/p>\n

\"\"#5 Existence is Futile (2009) \u2013 Empire of the Obscene really didn\u2019t need to be improved upon, but Revocation are moved not by need but possibility. Existence is Futile\u2019s leaner, focused writing got the band out of their own way. While some sections can come across a bit sparse, the difference in memorability between Empire and Existence is marked, with tracks like Deathonomics and Dismantle the Dictator becoming staple songs. Gruesome tech-thrash tracks like \u201cPestillence Reigns\u201d and \u201cThe Brain Scramblers\u201d were a revelation, and bruisers like \u201cDismantle the Dictator\u201d and \u201cAnthem of the Betrayed\u201d gained the group countless new adherents.<\/p>\n

\"\"#4 Revocation (2013) \u2013 One of the lesser-appreciated joys of the Revocation discography are the band\u2019s actual texts, and nowhere are they more compelling than on their self-titled record. Whether railing against the rich, oil companies, or the American media environment, Revocation pairs incisive sing-alongs with inspiring musicianship; Davidson even pulls out a Banjo to parody cable news (\u201cInvidious\u201d). Revocation capped the first era of the Revocation discography in impeccable form with their most front-to-back memorable LP.<\/p>\n

\"\"#3 Deathless (2014) \u2013 Deathless was a turning point for Revocation; having played every riff possible on six strings, Davidson and Gargiulo turned fully to seven, beginning a more sinister version of Revocation that persists to this day. Yet Deathless isn\u2019t heavy just for the sake of being heavy; it\u2019s just as lithe and unpredictable as the records before it, but with a grim grace to its winding songs and some of the band\u2019s most emotionally resonant solo work (see \u201cWitch Trials\u201d) and most poignant political criticism (\u201cBeholden to their corporate masters\/ politicians privatizing genocide\/ condolences offered by the same who pulled the trigger\u201d \u2013 \u201cThe Fix\u201d). Without the grating title track, the record would be just about perfect.<\/p>\n

\"\"#2 Teratogenesis (2012) \u2013 Many will argue (incorrectly) that Teratogenesis, Revocation\u2019s 2012 EP hot off of the release of Chaos of Forms, is the group\u2019s magnum opus. Granted, \u201cThe Grip Tightens\u201d might be their best song, and, granted again, \u201cSpurn the Outstretched Hand\u201d might be their second-best song. But after that one-two punch of career-defining greats, they only go on to deliver three more. Paltry! Sure, the sinister \u201cTeratogenesis\u201d would prove to be the blueprint for the rest of their career, and \u201cBound By Desire\u201d would shame thousands of aspiring axe-smiths with its sheer pummeling speed, but in context, Teratogenesis is dessert, a follow-up to what came just before. And there\u2019s no horn section!\"\"<\/p>\n

#1 Chaos of Forms (2011) \u2013 That Chaos of Forms is the highest among the Revocation records is almost axiomatic. From the opening bass slide of \u201cCretin\u201d to the raving closing of \u201cReprogrammed,\u201d there\u2019s not a second of Chaos of Forms that doesn\u2019t reach out and pull you into a rictus grin. Every song is packed to the brim with creative riffs, brilliant musicianship and playful twists. Take, for instance, \u201cCradle Robber,\u201d which tips a playful chorus riff repeatedly into an absolute vortex of synchronized drumming and trem-picking until it spills over, then transitions into a spectacular solo courtesy of the newly-joined Dan Gargioulo. It\u2019s put in its place by a brain-melting Davidson solo seconds later, for which the whole band actually speeds up, seemingly just to one-up the new guy. The pair return together with a showboat riff half-consumed by synchronized harmonics. Music really does not get much more fun than this, especially when it\u2019s narrated by the Grim Reaper. The only time it does is when the music is \u201cThe Watchers,\u201d which breaks out into a gallop halfway through before stampeding its way into a big, brassy introduction for producer Pete Rutcho\u2019s funky little organ solo. Simply divine.<\/p>\n

Maddog<\/p>\n

In 2012, my metal taste was impressionable but ravenous. I spotted a death-thrash EP from an unfamiliar band, available for free download via the now-defunct label Scion A\/V. Teratogenesis<\/a>\u2019 balance of death-thrash riffs and thoughtful melodies swept me off my feet.<\/p>\n

In 2015, I had imbibed deeply of extreme metal, but never been to a show. One frigid night in February, I timidly headed to Brighton Music Hall in Boston. While Fallujah fell victim to sound issues, the final opener Revocation smashed me to pieces. It was a watershed moment in my metamorphosis from metal fan to metal adorer.<\/p>\n

In 2025, Revocation is a cornerstone of my music taste. I love death metal; I love thrash\u2019s energy; I love creative songwriting; I can\u2019t help but love Revocation. Most of all, I love their consistency. Even the other two classic bands I\u2019ve helped rank here (Suffocation<\/a> and Dying Fetus<\/a>) don\u2019t have as deep a bench of memorable releases.<\/p>\n

And so, perhaps you\u2019re better off ignoring our concerted but pitiful attempts to dissect Revocation\u2019s history. After all, this is Revocation; just listen to all of it.<\/p>\n

\"\"#9. Empire of the Obscene (2008). Empire of the Obscene is merely a good album, but it lay the groundwork for Revocation\u2019s career. While Empire isn\u2019t as thrashy as its successor Existence Is Futile, melodeath permeates both its guitar leads and its riffs, which are textbook but punchy (\u201cSummon the Spawn\u201d). Despite its inconsistency, Empire of the Obscene hints at Revocation\u2019s burgeoning strengths. The most brutal segments are death metal riffcraft at its finest (\u201cFields of Predation\u201d), while the tinges of proggy song development are impressive for a new band. Even a fair helping of deathcore rears its head, remaining sporadic enough to stay fresh. Empire of the Obscene is entertaining, but with a 56-minute runtime and an overreliance on cookie-cutter death metal riffs, it struggles to stick in my mind. It\u2019s a fun listen, but falls short of Revocation\u2019s best.<\/p>\n

\"\"#8. Deathless<\/a> (2014). While Deathless is a worthwhile release, it doesn\u2019t excel in any of Revocation\u2019s usual dimensions. Frequent mid-paced riffs lose my focus throughout (\u201cMadness Opus\u201d), and I forget swaths of the album soon after it ends. Deathless progs with mixed success, and its creative efforts are often hindered by their length and low energy (\u201cApex\u201d). The dwindling of Revocation\u2019s thrash influences kneecaps the record. However, the exceptions save Deathless from the compost bin. The death-thrash menace \u201cScorched Earth Policy\u201d houses one of Revocation\u2019s most frantic and dangerous riffs, while the proggy adventures of \u201cWitch Trials\u201d hit hard because they\u2019re tied together by punchy melodies. Deathless doesn\u2019t top its neighbors, but it\u2019s no slouch.<\/p>\n

\"\"#7. Netherheaven<\/a> (2022). Netherheaven\u2019s ordinariness feels out of place. Revocation\u2019s latest album abandons the elements that distinguished them from the death metal masses. The proggy escapades, off-kilter riffs, and melodeath influences are gone; the fretboard wizardry is dialed back; even thrash takes a back seat. And yet, Netherheaven succeeds as stone-cold death metal. Easily Revocation\u2019s most brutal release, Netherheaven wows with the gigantic \u201cGalleries of Morbid Artistry\u201d and the rifftastic closer \u201cRe-Crucified.\u201d The occasional glimpses of Revocation\u2019s former flair also go a long way, like the playful opening of \u201cStrange and Eternal.\u201d That said, Netherheaven suffers from inconsistency, with middling second-half tracks like \u201cThe 9th Chasm.\u201d The technical spectacles feel like dispassionate exercises, and the lack of variety makes the album less replayable than Revocation\u2019s best works. Still, there\u2019s no shame in making rock-solid death metal. It\u2019s telling that even my seventh-favorite Revocation album made my 2022 list<\/a>.<\/p>\n

\"\"#6. Revocation<\/a> (2013). Often overlooked, Revocation\u2019s self-titled showcases some of the band\u2019s greatest guitar work. At this stage of their career, Revocation had mastered both the weird and the powerful. On one end, \u201cFracked\u201d might be the guitar highlight of the band\u2019s career, culminating with a virtuosic but punishing chorus and a climactic solo. Standing opposite, \u201cSpastic\u201d is a jazzy spectacle but holds my awe throughout. Uniting these worlds, \u201cInvidious\u201d blends a banjo intro, playful melodies, and a furious thrashy back half, while the shapeshifting \u201cArchfiend\u201d is the first and only Revocation track to make me cry. Revocation occupies a turning point, taming the insanity of Chaos of Forms without compromising its death-thrash intensity. While the midsection of Revocation shines, the record is bookended by slightly weaker cuts. Still, although it has more great songs than excellent songs, Revocation is essential in the Revocation canon.<\/p>\n

\"\"#5. Chaos of Forms (2011). The aptly-titled Chaos of Forms is the wildest release of Revocation\u2019s career. The infinitely thrashy tracks that kick things off are a riot, but they\u2019re the tamest part. The album\u2019s guitar effects (\u201cHarlot\u201d), lilted jazzy melodies (\u201cConjuring the Cataclysm\u201d), and 1970s-inspired key digressions (\u201cThe Watchers\u201d) are maniacal. These experiments work because Revocation is having fun every step of the way. To ward off any doubts, Chaos of Forms also features some of Revocation\u2019s fiercest death-thrash riffs; indeed, \u201cNo Funeral\u201d might be the greatest live performance I\u2019ve ever witnessed. However, strangeness requires discipline, which Chaos of Forms could use more of. Fanciful digressions crop up in unexpected places, often sticking around long enough to confuse but not long enough to convince. Chaos of Forms isn\u2019t Revocation\u2019s most memorable record, but it\u2019s easily the most ambitious.<\/p>\n

\"\"#4. Teratogenesis<\/a> (2012). The 22-minute Teratogenesis utilizes the EP format brilliantly, offering an action-packed tour through Revocation\u2019s style. \u201cThe Grip Tightens\u201d is a perfect crystallization of death-thrash, complete with both an iconic opening riff and one of metal\u2019s most enduring music videos<\/a>. Meanwhile, \u201cManiacally Unleashed\u201d adventures from thrashy riffing to serene melodies as well as any other track in Revocation\u2019s oeuvre. Teratogenesis hones the guitar pyrotechnics that would define its successor Revocation, employing them for stratospheric climaxes. While Teratogenesis loses steam as it progresses, this says more about the sky-high bar set by the first three tracks. In historical perspective, Teratogenesis feels monumental in the same way as Suffocation\u2019s Human Waste<\/a>. It isn\u2019t flawless, but it\u2019s an indispensable encapsulation of Revocation\u2019s career. I can\u2019t imagine them without it.<\/p>\n

\"\"#3. Existence Is Futile (2009). Bridging the gap between the straightforward Empire of the Obscene and the batshit Chaos of Forms, Existence Is Futile is Revocation\u2019s most melo- and least mellow album. Skeletonwitch looms large, and the album infects me through its chunky riffs (\u201cPestilence Reigns\u201d), its jubilant solos (\u201cAnthem of the Betrayed\u201d), and its irresistible choruses (\u201cReanimaniac\u201d). Even still, Existence Is Futile\u2019s most enduring achievement is its thirst for adventure. The narrative evolution of the instrumental \u201cAcross Forests and Fjords\u201d resembles Insomnium\u2019s Winter\u2019s Gate<\/a>; in stark contrast, the proggy title track mutates so many times that I can never quite recall when it starts or ends. Not once does this ever feel like an intellectual exercise. Rather, Existence Is Futile is Revocation\u2019s most consistently fun release, achieving immortality through the energy of thrash and the creative power of prog death. Revocation\u2019s sophomore record isn\u2019t immune to thrash metal\u2019s age-old pitfalls, and the album\u2019s weaker riffs occasionally bleed together. Even so, Existence Is Futile is the highlight of Revocation\u2019s high-octane early career.<\/p>\n

\"\"#2. The Outer Ones<\/a> (2018). Yes, if you want a party anthem, don\u2019t look here. But fun takes many forms, and The Outer Ones\u2019 narrative prowess stands out. The album\u2019s Lovecraft-inspired tales and Revocation\u2019s best-ever vocal performance hold each track together. The instruments follow suit. The riffs achieve an unholy blend of melodic weirdness (\u201cThe Outer Ones\u201d) and raw force (\u201cOf Unworldly Origin\u201d). The choruses rank among Revocation\u2019s best, peaking on the underrated blackened death spectacle \u201cLuciferous.\u201d Dave Davidson and Dan Gargiulo\u2019s technical wizardry arguably reaches its apex, across both unhinged riffs and soaring solos (\u201cBlood Atonement\u201d). Even these highlights don\u2019t do justice to The Outer Ones\u2019 remarkable consistency; though it takes a small dip in \u201cVanitas\u201d and peters out with \u201cA Starless Darkness,\u201d the album is otherwise a masterclass. While The Outer Ones disappointed some of the AMG herd, some bold commenters fought back, even demanding (rightfully) that we give Kronos a paddling<\/a>. While Kronos has evaded justice so far, I hope to honor this request; The Outer Ones is one of Revocation\u2019s creative peaks.<\/p>\n

\"\"<\/p>\n

#1. Great Is Our Sin<\/a> (2016). While each of these nine albums is impressive, nearly every one has notable flaws. Great Is Our Sin is the exception. All of Revocation\u2019s strengths coalesce here, and every moment counts. While Netherheaven is Revocation\u2019s most brutal album, Great Is Our Sin\u2019s heftiest cuts can shatter steel (\u201cAltars of Sacrifice\u201d). While Chaos of Forms leans into the bizarre, Great Is Our Sin\u2019s stealthy escapades are even more engaging (\u201cThe Exaltation\u201d). While Revocation\u2019s earlier releases emphasize the rhythm section, \u201cMonolith of Ignorance\u201d is a gleaming monument to bass- and drum-led evolution. While Existence Is Futile embraces the fun factor, \u201cAltars of Sacrifice\u201d could dunk on it with both feet planted. While Revocation showcased the emotional range of a guitar, \u201cCleaving Giants of Ice\u201d stands toe-to-toe through its melodic dirge for polar ice caps. These disparate elements fuse into the masterful \u201cCommunion,\u201d whose jazzy opening, thrashy verse, crushing chorus, and enthralling solo make it a landmark in both Revocation\u2019s career and death metal history. Put simply, when I\u2019m in the middle of any Great Is Our Sin track, I can\u2019t imagine listening to anything else. That\u2019s the surest sign of excellence.<\/p>\n

A short, sharp primer to convince the unconvinced\u2026<\/p>\n

Empire of the Obscene (2008)<\/p>\n

\u201cTail from the Crypt\u201d<\/p>\n

Existence is Futile (2009)<\/p>\n

\u201cPestilence Reigns\u201d
\n\u201cReanimaniac\u201d<\/p>\n

Chaos of Forms (2011)<\/p>\n

\u201cCradle Robber\u201d
\n\u201cNo Funeral\u201d<\/p>\n

Teratogenesis (2012)<\/p>\n

\u201cThe Grip Tightens\u201d<\/p>\n

\u201cManiacally Unleashed\u201d<\/p>\n

Revocation (2013)<\/p>\n

\u201cNumbing Agents\u201d
\n\u201cFracked\u201d<\/p>\n

Deathless ((2014)<\/p>\n

\u201cScorched Earth Policy\u201d
\n\u201cWitch Trials\u201d<\/p>\n

Great is Our Sin (2016)<\/p>\n

\u201cArbiters of the Apocalypse\u201d
\n\u201cCleaving Giants of Ice\u201d<\/p>\n

The Outer Ones (2018)<\/p>\n

\u201cThe Outer Ones\u201d
\n\u201cLuciferous\u201d<\/p>\n

Netherheaven (2022)<\/p>\n

\u201cStrange and Eternal\u201d
\n\u201cNihilistic Violence\u201d<\/p>\n

\n\tGive in to Your Anger:<\/p>\n","protected":false},"excerpt":{"rendered":"Revocation makes me feeling fucking old. It\u2019s difficult to believe fifteen odd years have passed since stumbling across…\n","protected":false},"author":2,"featured_media":168558,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[10613,110421,64,63,11492,134,136,228,229,110422,110423,110424,41363],"class_list":{"0":"post-168557","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-music","8":"tag-american-metal","9":"tag-amg-goes-ranking","10":"tag-au","11":"tag-australia","12":"tag-death-metal","13":"tag-entertainment","14":"tag-music","15":"tag-review","16":"tag-reviews","17":"tag-revocation","18":"tag-tech-death","19":"tag-technical-thrash-metal","20":"tag-thrash-metal"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/posts\/168557","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/comments?post=168557"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/posts\/168557\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/media\/168558"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/media?parent=168557"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/categories?post=168557"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/au\/wp-json\/wp\/v2\/tags?post=168557"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}