Revocation – New Gods, New Masters
Release Date: 19th September 2025
Label: Metal Blade Records
Bandcamp
Genre: Death Metal, Thrash Metal, Technical Death Metal, Progressive Death Metal.
FFO: The Black Dahlia Murder, Aborted, Obscura, Rivers of Nihil, Warbringer, Allegaeon.
Review By: Rick Farley
Boston’s tech death/thrash giants Revocation debuted in 2008 with their ambitiously complex record Empire of the Obscene, laying the groundwork for the bands future sound. They instantly became a formidable force in death metal, dripping with thrashy attitude and intricate musical wizardry. 2025’s New God, New Masters releasing on Metal Blade Records marks the bands ninth studio album as well as their 20th anniversary as a band. Coming off the back of their critically acclaimed album Netherheaven in 2022, New Gods New Masters picks up right where they left off, bringing even more memorable virtuosic brutality.
Revocation’s founder, vocalist/guitarist Dave Davidson who also happens to be one of metal’s absolute best guitarists, blends melody, shred, aggression, hookiness and brutality then wraps it up in a tight, precise package of technical prowess that explodes from the speakers like a frenzied lunatic. He’s joined by new members Harry Lannon (rhythm guitar/backing vocals) and the mighty Alex Weber on bass, as well as drummer Ash Pearson, who’s been crushing in the band since 2015.
New Gods, New Masters carries on the bands love of sci-fi/horror with its lyrical themes of worshipping technology, the slow march to an all-out annihilation of our species through the use of artificial intelligence and horrific scientific experiments that produce disfigured monsters. Tracks like Sarcophagi of the Soul which sonically harkens back to 2009’s album Existence is Futile warns of technology addiction while utterly destroying everything with a relentless guitar thrashiness. Alex Weber’s lumbering bass rumbles on like a bulldozer, clearing the way of smashed skulls and broken concrete. The sickening nastiness of Confines of Infinity featuring guest vocals from Travis Ryan (Cattle Decapitation) is a lesson in extreme heaviness with a venomous taste for disgusting vocal tones, wicked riffs, and complex structures. Exploring AI’s impact on humanity, this is a colossal beast of a track that will claw mercilessly into your consciousness and obliterate it. The cosmic progressiveness of Buried Epoch featuring guest vocals from Luc Lemay (Gorguts) is a technical show of brute force. Gritty guitar melodies, that twist and turn into weaves of spidery webs going in every direction, keeps this track high energy and stunningly ferocious. Pearsons relentless drums drag you through every crack and crevice, morphing your body into an experimental organic fluid, while the teeth of the abyss gnaws on your soul.
As a vocalist, Davison has come a long way, now sounding like a seasoned vet with tremendous personality in his growls and screams. Having more than one guest vocalist typically doesn’t work well in my opinion on any one record, but in this case, Having Travis and Luc guest, as well as Jonny Davy (Job For a Cowboy) on Cronenberged is a huge plus that gives this record even more snarling musicality. It works incredibly well and adds so much depth to the darkness and intensity of the tracks. I shouldn’t have to mention the guitarwork here, but if you’re not familiar, Davidson happens to be an accomplished shredder/riffer in the form of a guitar virtuoso. Just check out the outro solo of Despritualized for confirmation.
The entirety of New Gods, New Masters feels to me like an exploring continuation of their more current sound with flourishes of everything that already makes Revocation hard not to love. This band has been moving aggressively forward their entire careers while maintaining a core sound, and that doesn’t change here. Anyone that’s still stuck in the early days may not welcome this quite as much, but this record stands tall with anything in their discography. This is a killer.
Also, a shout-out to Paolo Girardi who did the sick cover artwork.
(4.5 / 5)
