Kicking off with the blistering “Unsafe at Any Speed,” Exhumed pull no punches in a typically exuberant, brutal yet wickedly infectious style. The riffs rip and burn with reckless abandon, drums set a scorching tempo, while the dueling vox, trade-off solos, and gut-punching grooves land vital blows of awesomeness. It feels familiar yet fresh and the right amount of pungent. Striking a balance between the sharp melodicism and grooving charms of modern classic Necrocracy, mutated with the blunt force savagery of Horror, and a dash of the more primitive goregrind stylings of their early days, Red Asphalt finds Exhumed subtly tweaking their formula to remain vibrantly dangerous deep into their career. Through modern refinement and sharp, technical execution, Exhumed maintain their gritty, no-frills edge and slick but organic sounding production, while the grindy, blast-riddled attack and sick dual vox ensure these old dogs still pack a brutal, unhinged punch.

Careening recklessly from one gnarly, adrenaline-fueled incident to the next, Exhumed mostly jam the gears high and slam the pedal to the floor, weaving twisted cables of melody through mangled wreckages of deathgrind mayhem and gore-soaked grooves. “Red Asphalt” unleashes thrashy uppercuts and Heartwork-inspired melodeath flair to killer effect. More measured cuts (“Shovelhead,” “Death on Four Wheels”) detonate slower, crushing devices, bloodied riffs, and dicing solos to slamming impact. When Exhumed are not grinding and pummeling with deathly intent, their thrashy tendencies take hold, offering a trademark punky, turbo-charged counterpoint on numerous high-octane scorchers (“Shock Trauma,” “The Iron Graveyard,” “Symphorophilia”). “Shock Trauma” deftly incorporates screaming, emergency siren solos into an explosive barrage of searing deathgrind battery, showing Exhumed can still blast and brutalize with the best of them.

Performances are uniformly tight and deranged, Harvey again proving an elite riff meister, sharpening his tools of the trade to whip up a frenzy with Philips, including a generous bounty of killer, infectious riffs and tasty, slashing solos. The shredding is top-grade stuff, adding a wild and reckless melodic edge to the album (check the ripping axe pyrotechnics on “Death on Four Wheels” and “Crawling from the Wreckage”). Vocally, Harvey and Sewage sound as savage as ever, forming one of the best dual vocal combos this side of Dying Fetus, albeit a gentle push forward in the mix would have been welcome. At a taut thirty-seven minutes, Red Asphalt blasts by in an efficient, addictive fashion, by the time “The Fumes” engulf your senses to close out the album. Aside from a couple of stock moments, Exhumed’s songwriting sounds energized and inspired, nearly thirty years since they dropped their debut.

Red Asphalt stands up to scrutiny as another high-quality modern platter to add to Exhumed’s ever-impressive repertoire. Exhumed rarely miss, testament to their dedication and skilled craftsmanship in remaining a bulldozing force in the modern death metal arena, carrying the Carcass-inspired torch, yet transcending the influence of their forebearers. Exhumed’s timelessly fun and feverish brand of old school brutality, filtered through a modern lens, and packed with sharp riffs, sharper hooks, is a thrashing, grooving, blasting good time. Red Asphalt arguably edges the past couple of Exhumed albums, resulting in a bloody crash course in deathgrind lunacy, grisly grooves, and melodic smarts.

Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stinking stream
Label: Relapse Records
Websites: exhumed.bandcamp.com | facebook.com/exhumedofficial
Releases Worldwide: February 20th, 2026

The post Exhumed – Red Asphalt Review appeared first on Angry Metal Guy.

Rather than a stoned cruise through the desert, Ritual Arcana play a raucous, bewitching blend of hard slugging doom and occult-tinged rock, fit to appeal to fans of nostalgiacore retro rock, Wino’s various projects, and other smoky doom persuasions such as Sabbath Assembly, Jess and the Ancient Ones, Castle Rat, and Witch Mountain. Imbued with dark, alluring vibes and a riff rumbling bluesy edge, Ritual Arcana features the requisite doom-laden heft and freewheeling grooves to accompany songs that rock and rumble with a sprightly bounce. The jammy, psych-drenched swagger leans as much into heavy rock and stoner realms as it does dour doom. LuckyFree’s beguiling pipes boast an undeniable appeal and hooky charm. And while perhaps not the most unique female vocalist in the biz, she holds her own and supplies plenty of earwormy hooks atop a solid foundation of hefty rhythms and fat, swaggering riffs.

Right off the bat, the opening title track lays a groovy path, riding a thick, simplistic central groove and catchy vocal flow, enlivened by Wino’s easy-on-the-ear lead work. Similarly, bluesy, hard-rocking fare and juicy hooks feature prominently (“Free Like a Pirate,” “Summon the Wheel,” “Road Burnt,” and “Judgment XX”) to fun effect, nestled between doomy, heavier fare. These are solid examples of Ritual Arcana’s formula; however, the most interesting material leans deeper into their doomy roots. “Mistress of Change” possesses an ominous atmosphere and lurching, drunken gait, highlighted by LuckyFree’s slightly unhinged vocal performance. Similarly impactful bursts of rugged doom, molten riffage, and rawer vocal turns feature on the highlight-worthy “Subtle Fruits.” There are no blatant weak points, just certain tunes that hit harder and stick for longer. Ritual Arcana do the bluesy hard rock stuff well, yet it’s the brooding doomier forays that sustain greater interest.

What they perhaps lack in innovation, Ritual Arcana compensate through lean and tightly wound songwriting, solid musicianship, and familiar yet delightfully catchy songs. Wino is an iconic metal legend, and even minus the gruff, well-lived presence of his vocals, he makes a punchy impact through his accomplished guitar work. The well-worn riffs carry a fresh, catchy edge; however, it’s the flashier leads and psych-drenched embellishments that complement the no-frills riffs. And as cool and effective as LuckyFree’s vocals are, it is a tad disappointing that Wino’s grizzled voice doesn’t pop up in cameo or dueting form. Meanwhile, the production may be a little clean for some tastes; however, it’s easy to appreciate the clarity and chunky tones.

Ritual Arcana is a likable, gratifyingly catchy exercise in seasoned doom and psych-riddled occult rock from experienced hands. It plays things a little too safe at times, and as enjoyable and undeniably infectious as the songwriting on this debut platter proves to be, it rarely hits truly outstanding levels. Regardless, this style of doom/occult rock has an infectious charm, and when in the hands of veterans and a legend like Wino, it is difficult to fuck up. Ritual Arcana is a cool example of the saturated style and perhaps a precursor to greater things to come from this unit.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 304 kbps mp3
Label: Heavy Psych Sounds | Bandcamp
Websites: facebook.com/ritualarcana
Releases Worldwide: January 23rd, 2026

The post Ritual Arcana – Ritual Arcana Review appeared first on Angry Metal Guy.

A tick under ten minutes is all the wily Finnish heavyweights need to batter your senses and spike your adrenaline in typically violent fashion. While raw intensity and tautly wound balls of gnarled, punky riffs, dry-throated vox and cyclonic drumming remains at the forefront of Rotten Sound’s relentless mode of attack, their shrewd sense of melody, infectiously nasty riffcraft, and appreciation of the art of the down and dirty grind groove stands out from their peers. Mass Extinction may not stand amongst the band’s most essential work, but it certainly doesn’t feel phoned in or half-baked. Rotten Sound’s crafty tweaking of their trusty formula to remain fresh, coupled with youthful exuberance and seasoned rage, ensures they remain sonically and musically as sharp and intense as ever.

Rotten Sound continue deploying grind with a crunchy, punky d-beaten edge and Swedeath influence, combining modern Scando-grind with the classic spirit of the subgenre’s early forefathers. “Recycle” squeezes every ounce of energy, conviction, and barbed discordance from its accomplished architects, blasting and riffing at light speed, before detonating a trademark, beastly palette cleansing groove. It’s a lean, mean, furious delight. The song’s following counterparts largely follow suit in consistent quality and signature style, taking no prisoners. Rotten Sound mostly compensates for the lack of surprises with the sheer vitriolic rage and intensity they maintain on each release. Their steely edge showing no signs of softening, an impressive feat across such a lengthy career timespan, especially in grind years.

The chunky bulk of the material locks into full throttle savage mode, bursting with punky, belligerent fury (‘Polarized,” “Idealist,” “Empty Shells”). “Ride of the Future” incorporates sludgy, hefty riffs and grooves into its crusty assault, while “Brave New World” tinkers with greater tempo variation and snippets of melody within its sample-laden attack. Rotten Sound pack plenty into the EP’s scant runtime, with the only minor downside being the safety net familiarity and slight blurring of the songwriting lines on Mass Extinction’s rawest, fastest moments of white knuckled extremity. Keijo Niinimaa’s vocals sound as nasty and hateful as ever before, using global turbulence and political unrest as fuel for his vocal and lyrical spite. The rest of the band showcase typically impressive chops, tearing through each hyperspeed composition with tightly synced chemistry and sharp precision. Overall, the sonic profile is crisp and crunchy, with the right amount of filth in the guitar tone. Unfortunately, another brickwalled master brings the experience down a notch.

Mass Extinction marks another worthy entry into the unstoppable canon of one of grindcore’s enduring legends. Although it cannot contend with the band’s best works, Mass Extinction possesses the signature stamp of quality that has trademarked Rotten Sound’s career. Perfect for a rev-up or cathartic release, Rotten Sound hit the mark again, punching an exclamation point on the grind scene for 2025. Here’s hoping 2026 delivers another similarly brutal, top-notch year of grind.

Rating: 3.0/5.0
DR: 5 | Media Reviewed: 320 kbps mp3
Label: Season of Mist
Websites: Official | Facebook | Bandcamp
Releases Worldwide: December 12th, 2025

The post Rotten Sound – Mass Extinction EP Review appeared first on Angry Metal Guy.

Terror Corpse merge old timey underground aesthetics with a vital injection of their own character and modern appeal. Presenting a grimy and wickedly brutal collection of grind-encrusted old-school death, Terror Corpse both encompasses and deviates from the deathgrind formula of the EP, pivoting into deathlier, guttural realms. Any disappointment of the sound shift is swiftly bludgeoned on opening track “Pyre of Ash and Bone.” The song makes a hellish statement, hammering down violent, riffy death marches through menacing atmospheres, as uber low guttural vox, squealing leads, and livewire drumming seal the deal. Dobber Beverly again cements his status as a cult legend in extreme metal drumming. Also handling guitar duties with main vocalist Mat V, the duo reinforces the album’s retro, brutish charms, primitive clubbings, and ominous atmosphere with a vital collection of top-shelf riffs, mangled leads, and headbangable delights.

Ash Eclipses Flesh revels in shifting gears from dense, noisy chaos and relentless blasts to knuckle-dragging grooves, and monstrous, caverncore-esque swarms, Terror Corpse also incorporate infectious bursts of thrashy death and gnarled, punkish grind into the fray. After a solid, respectable beginning, Ash Eclipses Flesh really hits stride on third cut “Womb of the Hollow Earth,” and it’s a ripping, high-potency ride from here on in. Elsewhere, they delve into death-doom slogs, inflicted upon the devastating “Fallout Obliteration,” and punishing mid-section on the lurching, vicious stomp of “Sons of Perdition.” Refusing to neglect their classic grindcore and splattery deathgrind roots, Terror Corpse bring the filth and dual vox, including shrieky highs, to the thrashing intensity of “Nuclear Winter.” Meanwhile, the tremendous “The Hollow That Devours” intersperses cavernous double bass rumbles and thrashy bursts with immense mid-paced chuggery and thick, insidious grooves.

Versatile tinkering of their songwriting formula ensures the songs chart diverse territories, while remaining uncompromisingly brutal and wickedly infectious. Even the closing cover of Celtic Frost’s “Into the Crypts of Rays” doesn’t feel wasteful or tacked on. Terror Corpse inject the song’s anthemic, punky edge with their own beefed-up deathgrind spark. Beverly’s energetic, nuanced drumming proves essential as the album’s beating heart, driving the fluctuating pulse rate and need for speed, slick tempo shifts, and rambunctious, sewage-coated grooves. The power of the riff compels, not through technical wizardry, but courtesy of a firm understanding of the genre’s classic origins and grimy, atmospheric underpinnings. Infectious and rancidly beefy riffs, wildly unhinged leads, and sinister melodic currents define the excellent axework. There are no glaring flaws or major drawbacks preventing a strong recommendation. Perhaps you could argue Terror Corpse aren’t doing anything especially new or innovative, while the dominant, incomprehensible gutturals might be a tough sell for some listeners.

Twenty-twenty-five has delivered diverse treats across the metalverse, including top-notch death metal releases of varied persuasions within the genre. Ash Eclipses Flesh is another not to be missed. What they lack in bells, whistles, techy flair or innovation, Terror Corpse more than compensate through their authentic and fresh spin on a vintage sound. A tightly performed, superbly produced, and invigorating slab of riffy old school death, armed with gnarled deathgrind and grisly brutal death ammunition, Ash Eclipses Flesh is a surefire corker and end-of-year list disruptor.

Rating: 4.0/5.0
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dark Descent Records
Websites: Facebook | Bandcamp
Releases Worldwide: November 21st, 2025

The post Terror Corpse – Ash Eclipses Flesh Review appeared first on Angry Metal Guy.

The striking cover art, a beautifully rendered oil painting from artist Nick Keller, illustrates the stormy, heaving turbulence pulsing through the belly of this mighty beast. The Ship // The Sea packs the raw, burly punch and requisite emotional power to simultaneously wrench hearts and bang heads. “We Don’t Say Fear” warmly welcomes listeners back into the comforting grip of the Beastwars experience. Its signature stomp of infectious, hard-rocking, and oh so chunky sludge-doom finds the four-piece in fine form. Beastwars deliver top-notch performances and heart-on-sleeve passion through a decidedly dark, melancholy collection, reflective of personal hardships and current global concerns inspiring the album’s conception and lyrical themes. Beastwars pack power and emotion into concise timeframes, stripping back to their heavy, more straightforward roots without abandoning their sense of progressive adventure.

Amidst bleaker tones, shuffling between the raw, gloomy misery of the ominous, soul-jabbing doom of standout cuts, “Guardian of Fire” and “Rust,” to slightly more uplifting closer “Light Leads the Way,” Beastwars also bring the rocking, sludgy thunder to the equation. More urgent, traditionally infectious songs create welcome structural and pacing variety on such hooky delights as “Levitate,” bustling, psych-stoner surge of “The Storm,” and heady, aggressive throes of “Blood Will Flow.” Listeners from the band’s early days will no doubt enjoy the album’s raw, swaggering edge, amped aggression and immense heaviness. Although The Ship // The Sea boasts many standout songs and a satisfyingly deep, resonant emotional punch, not everything comes together smoothly. While never exactly losing steam, the second half of the album experiences some pacing issues and lulls, not quite matching the hookier rockers and doom-laden highlights of the front-loaded first half. That is not to say the album’s second half is lacking in potency, attested by the bruising grooves and hypnotic flow of “The Howling,” and grinding riffs, catchy groove, and anguished howls on the slow-burning intensity of “You Know They’re Burning the Land.”

Thick doomy rhythms and beefy down-tuned grooves are laid down by the imposing rhythm section of James Woods (bass) and Nathan Hickey (drums), while guitarist Christian Pearce unleashes proggy flourishes and gloomy melodies through a dense filter of sludgy riffcraft, tasty stoner grooves, and punishing, morose doom. Meanwhile, Matt Hyde’s distinctive, gruff roars and anguished bellows remain a key focal point and feature of the Beastwars formula. From overcoming a serious health battle and dealing with life’s inevitable tough times and obstacles, Hyde also uses troubled world events as fuel for an intensely emotive, standout performance. The passion and intensity behind Hyde’s vocals and raw, unvarnished sonic makeup lend the album its gritty, thumping edge.

Recorded in a studio by the ocean, Beastwars fully embrace the album’s spiritual and symbolic themes and connections to the ocean’s unpredictable, turbulent, and unforgiving nature. The production lends the songs a rough, organic crunch and weightiness, perfectly syncing to the band’s tough and gritty delivery, muscular rhythms, and piledriving riffing of the sludge, doom, and stoner varieties. Beastwars consistently write quality songs that fit snuggly in the sludge and doom domains, featuring rich depth, compositional subtletie,s and bleeding heart emotion. While perhaps not the band’s most consistent or instantly hooky album, The Ship // The Sea is a grower that packs a hefty wallop, largely maintaining Beastwars stellar track record of pumping out high octane, harrowing, and sonically booming tunes.

Score: 3.5/5.0
DR: 7| Format Reviewed: 320 kbps mp3
Label: Destroy Records
Websites: beastwars.bandcamp.com | facebook.com/beastwars666
Releases Worldwide: November 7th, 2025

The post Beastwars – The Ship // The Sea Review appeared first on Angry Metal Guy.

Forged from the ashes of the mighty Gridlink, Barren Path emerge from the blistered earth, hellbent on blazing a pathway of grinding destruction amid charred bursts of white-hot extremity. Legendary grind axeman Takafumi Matsubara overcame a career-threatening injury to shred once more, leading the way with fellow Gridlinker Bryan Fajardo (drums), along with bassist Mauro Cordoba and guitarist Rory Kobzina, who both featured on Gridlink’s swansong, Coronet Juniper (2023). Adding to Barren Path’s gold-plated grind pedigree is the addition of vocalist Mitchell Luna (Maruta, Shock Withdrawal). In classic grind fashion, Barren Path’s anticipated debut Grieving doesn’t simply blur the lines between what constitutes an EP or LP, but fucking obliterates them across a scant but deadly thirteen minutes of calculated brutality. Like any quality grind, you can bank on the brief runtime carrying over triple the intensity of your average metal album, making repeat listens an adrenaline-charged breeze.

Gridlink always carried an air of grace about them. Yes, grace and grind may seem disparate entities; however, through their gnarly, yet pristinely performed, razor-sharp precision, melodicism and technical edge, Gridlink stood out from the pack. The heavy Gridlink representation thankfully doesn’t come off as a simple continuation of their legacy in a different guise. Sure, the melodic sensibilities, technicality, whiplashing speed, and machine-gun blasts may share similarities with the Gridlink name, including the distinctive guitar work of Matsubara. Yet make no mistake, Grieving is its own unhinged beast and vital new dimension for its architects to expand from.

Barren Path tenderizes the predominant grind attack with a deathly thump, complemented by an altogether beefier production and sonic profile. The guttural vocal eruptions add a brutal, bulldozing death metal edge, offsetting the predominant piercing screams and higher-pitched variations. From the pummeling abuse, deadly drumwork, and full throttle urgency of opener “Whimpering Echo,” through to the climaxing barrage of assaulting, belligerent deathgrind on “In the End… The Gift is Death,” Barren Path leaves nothing in the tank, upholding an incredible level of precision savagery across the album’s brief yet gripping runtime. Operating with ruthless efficiency into its sub-minute framework, “Primordial Black” brims with uncontrollable energy, as rabid dual vox, breakneck thrashy tidbits, and frayed blackened edges shade the song’s brutal deathgrind delivery. Comparably longer cuts (“The Insufferable Weight,” “Relinquish,” “Horizonless”) allow extra time for Barren Path to unleash their action-packed battery of creative songwriting and infectious songcraft.

Occasional melodic motif or techy passage aside (such as the playful mid-section and spoken word incantations of “Isolation Wound”), little room is reserved for palette cleansing moments, or an Nasum-esque circuit breaker groove. This is not suggestive that Grieving is one-dimensional or lacking in structural variety. Barren Path’s clever knack for drop on a dime tempo and riff changes, and deceptively catchy writing keeps the listener firmly dialed in. Matsubara and Kobzina’s deadly axework and visceral array of sharp, dissonant, and often infectious deathgrind riffage powers Barren Path’s blistering attack. Meanwhile, Fajardo delivers a beastly, expert display of primo deathgrind drumming, a controlled collision of lightspeed rhythms, crafty finesse, and full-throttle aggression. Grieving is also blessed with a killer production job and dynamic master, avoiding the pitfalls that can hamper modern grind affairs when saddled with compressed, overly loud profiles. Abrasive and relentless in execution, the sound is a burly, organic delight, keeping ear fatigue at bay and maintaining an air of clarity and sharpness without diluting Barren Path’s brutish traits.

Drawbacks are few and far between. As touched on, the short runtime leaves you hankering for more, and I’m curious to see how Barren Path develop their sound and perhaps expand upon the prominent death influence and hyperspeed thrash elements on future endeavors. Barren Path emerges from Gridlink’s formidable shadow to unleash a teeth-gnashing, refreshing debut, using their death-plated grind as a catalyst for carving through exciting fresh pastures. Though guilty of leaving the listener wanting more, the addictive replay value and quality songcraft largely fill the void of feeling marginally shortchanged. Barren Path’s violent attack, colorful chemistry, and precision, technical musicianship leave displaced jaws on the floor with the sheer intensity and locked-in tightness. Grieving is top-tier grind to batter the senses and soothe the mind.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kbps MP3
Label: Willowtip Records
Websites: Bandcamp | Facebook
Releases Worldwide: October 21st, 2025

The post Barren Path – Grieving Review appeared first on Angry Metal Guy.

Void of Sleep long refined the burly, hook-laden ball of energy of their debut into the darker, introspective, progressive rock channels of their more recent material. Each LP shares familiar elements while remaining distinctive. Charting complex, winding arrangements and post-metal swells, without abandoning their psych flourishes and chunkier sludge rock heft, Void of Sleep continue spiraling down increasingly melancholic, spacey and adventurous wormholes. Musically, The Abyss Into Which We All Have to Stare is most similar to their previous outing, burrowing synth-steeped atmospherics and probing instrumental jams into their muscular sludge rock and progressive foundations.

Whereas heavier use of synths, tribal infused rhythms and hypnotic instrumental segments are ever prevalent across the album’s lengthy individual movements (barring a short introduction piece), Void of Sleep maintain shreds of the hooky, surging sludge rock fury of their previous work. “Misfortune Teller” harkens back to the versatile and heaving sludge blows and melodic sensibilities of their past endeavors to solid effect. It’s an aspect of their sound dialed back, with their more aggressive, heavier roots occasionally missed. Delving deeper into proggy, post-metal realms, Void of Sleep shift the balance towards slower-burning, more elusive songwriting traits and a sound that is less immediate, perhaps suffering slightly as a result. The album’s meandering beginnings, reflected on ambient opening movement, “Dark Gift,” and feeding into the drawn-out build-up on the otherwise impactful prog-sludge and propulsive dynamic shifts of “Omens from Nothingness,” make for a curiously sedate start. Void of Sleep strongly favor lengthy compositions, including four of the album’s seven songs extending beyond the eight-minute mark. This isn’t exactly new territory for Void of Sleep, this time unleashing their longest album to date.

The marathon four-song trek from “Lullaby to Woe” to closer “A Demon In My View” comprises a large chunk of the runtime. Despite a multitude of interesting ideas and stellar moments, the lengthy stretch is a mixed bag. “Lullaby to Woe” features nods to Tool and The Ocean, weaving pulsing rhythms and a progressive ebb and flow arrangement, fed through a burly, stoner prog filter. Killer hooks and addictive grooves reside, marred by a bloated, sample-laden mid-section impacting momentum, temporarily drifting from the song’s strengths and potency. Quality musicianship and surging climax aside, “From the Unborn Mother” loses focus and lacks a gratifying hook to nail the landing. Not without minor issues, the closing duo fare better overall. Following a creepy carnival-esque intro, “Phantoms of Nihil” takes a while to hit its stride, eventually showcasing its heavier wares, progressive strokes, and booming vocals. Burdo’s thick, accented vox may prove divisive, though remain an asset, juggling dual guitar duties while belting out impassioned, rugged cleans and occasional heavier screams and bellows. His versatile and emotive delivery makes a punchy impact, sounding rougher and more seasoned against the album’s bleaker tones. Though a few misguided moments and awkward vocal phrasing arise, it’s another solid performance.

Void of Sleep remains a gifted bunch of sludge-slinging progsters and underappreciated unit in the modern progressive metal and sludge scenes. The Abyss Into Which We All Have to Stare may lose some of the focus and addicting songwriting spark of their stronger efforts, yet features enough engaging elements, a gritty delivery, and subtly infectious hooks to stay afloat. An organic, punchy production job and excellent musicianship also shine. Unfortunately, pacing issues, ambition occasionally giving way to meandering misadventure, contribute to bloat and faltering cohesion to an otherwise intriguing batch of moody and darkly mysterious progressive tunes.

Rating: 3.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: Aural Music
Websites: Bandcamp | Facebook
Releases Worldwide: October 17th, 2025

The post Void of Sleep – The Abyss Into Which We All Have to Stare Review appeared first on Angry Metal Guy.

Consistency has been a mainstay across Revocation’s now lengthy career. Occasional dips from the gold-plated standards of their unstoppable early to mid-career run notwithstanding, Revocation has never shit the bed or careened spectacularly off the rails. Nevertheless, nearing the twenty-year milestone since formation, the Angry Metal Guy’s Law of Diminishing Recordings™ looms ominously. Return to form Netherheaven brought a sharper focus and bloodstained atmosphere to the songwriting, delving deeper into Revocation’s deathly impulses with striking results. New Gods, New Masters stays on trend with recent efforts, charting a notably uglier, angrier route in comparison to their thrashier, playful early roots. Veering down increasingly gnarled and brutal spirals and weighing heavily into their deathly persona, New Gods, New Masters has serious fucking teeth, while failing to dull Revocation’s penchant for wildly inventive, technical material and progressive flourishes.

Rumbling into gear with gritty bass lines and thunderous drums, the opening title track ramps up tension before unfolding into a rugged, thrashy rager, complete with playful melodic break and typically mind-bending soloing. Cold and calculating, at its most beastly, New Gods, New Masters cuts an imposing figure, cranking heaviness to the max during the gritty, almost hardcore-leaning crunch of “Dystopian Vermin,” and venomous, blackened swarm of “Despiritualized.” Davidson’s vocals are at their most unhinged and anguished as the pair of gut-wrenching belters are further shaped by moody, unspooling solos, adding a touch of class and improv feel. Ginormous, lumbering grooves shake the core of “Confines of Infinity,” leaving a satisfyingly bruising punch, embellished by blistering blast sections, warp speed riffing, and killer guest spot by Travis Ryan. Featuring an impressively guttural Davy on guest vox, the awesomely and aptly titled “Cronenberged” is even better; its vicious, relentless intensity, mutated riffs, and authoritative rhythm section cut a brutal swathe into your scrambled brain. These are fine additions to Revocation’s stacked repertoire.

Standing out amongst its vocal counterparts, the brilliantly composed instrumental “The All Seeing” is a stunning piece. Pearson and Weber’s excellent combination and jittery, complex rhythms share the spotlight through a multifaceted, proggy journey, bolstered by intricate, groovy riffs and jazz-inspired soloing. Closer “Buried Epoch,” featuring Lemay, largely matches its weighty ambitions and song length, whipping blackened, death, thrash, tech, and prog ingredients into a pummeling, unpredictable, though largely cohesive epic. The new line-up doesn’t miss a beat, striking chemistry and maintaining Revocation’s trademark ear-popping technicality. Weber’s bass is afforded a chunky presence in the mix, lending melodic nuance and reinforced grunt to the album’s bleak, dystopian atmosphere, blunt force grooves, and brutal, uncompromising edge. The underrated Pearson puts in another exceptional performance behind the kit. Meanwhile, riff king Davidson and newcomer Lannon ensure Revocation’s axe-centric tech death-thrash arsenal and intricate, infectious riffcraft remains intact. Davidson’s corkscrewing, endlessly inventive solos feature soulful licks amidst bleaker tones, syncing with the album’s harsh, ominous atmosphere.

Injecting new blood into a familiar formula, New Gods, New Masters opens another shifting chapter for Revocation, though avoids spinning wheels. Marginally less consistent and compelling than Netherheaven, New Gods, New Masters nevertheless marks another fruitful return from Revocation. While it cannot quite match the band’s highest peaks, with songs falling more towards the very good rather than great range, New Gods, New Masters features the hallmarks of a grower. Initial reservations swiftly subsided, revealing another unique entry and exceptionally heavy, vitriolic burst of body slamming, thrashy tech death, catching songcraft and artful shredding.

Rating: 3.5/5.0
DR: 6 | Format Reviewed: 1411kbps mp3
Label: Metal Blade Records
Websites: revocation.bandcamp.com | revocationband.com | facebook.com/revocation
Releases Worldwide: September 26th, 2025

The post Revocation – New Gods, New Masters Review appeared first on Angry Metal Guy.

Revocation makes me feeling fucking old. It’s 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’s 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.

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’s 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.

September 26th, 2025 ushers in Revocation’s 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’s 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…

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

The Rankings

Saunders

#9. The Outer Ones (2018) – 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’t 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’s easy to admire the album’s frantic, calculated intensity. Tunes like the rip-roaring opener “Of Unworldly Origin,” chunky brawler “The Outer Ones” and the thrashy, proggy blackened death of “Luciferous” highlight an album that has grown on me but ultimately falls short of the band’s other works.

#8. Empire of the Obscene (2008) – A bold and potential-packed debut, Empire of the Obscene rises well beyond a mere curiosity or roughshod early edition of Revocation’s 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’s 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 “Tail from the Crypt” is an early career highpoint, while other choice cuts include the bizarro “Suffer These Wounds,” and rippling axerobatics of “Exhumed Identity.” It’s 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

#7. Great is Our Sin (2016) – 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’s recording career. And it feels like an outlier merging the band’s 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 “Arbiters of the Apocalypse,” the prog-infused death-thrash of “Communion,” sinister, punishing thrust of “Only the Spineless Survive,” and epic, experimental rumble of “Cleaving Giants of Ice” are nuggety examples of the album’s finer moments.

#6. Netherheaven (2022) – 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 “Nihilistic Violence,” labyrinthine trip of “Strange and Eternal” and blast-addled, vocal trade-off on scorching closer “Re-Crucified.” Despite being enveloped with shadowy, sinister atmospheres, Netherheaven is imbued with a fun, adventurous spirit, also resulting in one of Revocation’s heaviest offerings. Davidson’s 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.

#5. Deathless (2014) – Revocation’s distinctive formula has long separated them from the hordes of tech death and thrash bands in the scene. One of Revocation’s 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’t 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’ most impactful, jolting moments are delivered elsewhere. Classic opener “A Debt Owed to the Grave” and the cutthroat “Scorched Earth Policy” unleash vicious yet eloquently delivered evidence Revocation still thrash with the best of them. While the immense “Madness Opus” channels Revocation’s progressive inclinations within a barbed, death metal shell. Top-tier stuff.

#4: Revocation (2013) – 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’s 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’s 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 (“The Hive,” “Numbing Agents”), warped tech death beatdowns (“Fracked,” “Scattering the Flock”), banjo-infected riff monsters (“Invidious”) or mosh-ready juggernauts (“Archfiend”), Revocation has all bases covered. A slightly more stock backend the only thing diminishing an otherwise top-notch album.

#3. Teratogenesis (2012) – 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’s 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’s eye-popping instrumental prowess and whipsmart songwriting serve genuinely well-crafted, catchy songcraft and a bevy of sharp turning dynamic twists and killer riffs. “The Grip Tightens” bottles everything great about the Revocation sound into a career stunner. Elsewhere, “Manically Unleashed” unleashes cracking bursts of tech thrash precision amidst intricate melodic breaks and soul-searching solos, while “Bound By Desire” closes proceedings with a blast and thrash-riddled bang, replete with gorgeous melodic soloing and proggy touches.

#2. Chaos of Forms (2011) – 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’s sound. Unleashing a trio of instant Revocation classics right off the bat courtesy of “Cretin,” “Grave Robber” and “Harlot”, 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 “No Funeral,” through to the brainy, twisting riffage of the title track, zippy, thrash-laden charge of “Beloved Horrifier,” and densely packed, stuttering tech death of “Reprogrammed,” Chaos is a versatile, sparkling jewel in the Revocation canon.

#1. Existence is Futile (2009) – Beyond the endearing factor, this was my first Revocation album and the warm fuzzy nostalgia associated; Revocation’s astonishing sophomore belter Existence is Futile emerged as a bottled lightning moment. Revocation’s 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’s underrated vocals sound as vital as ever. A thoroughly gripping listen front to back, with the likes of “Pestilence Reigns,” “Deathonomics,” “The Brain Scramblers,” “Reanimaniac,” “Dismantle the Dictator” and ambitious closer “The Tragedy of Modern Ages” a handful of essential cuts.

Kronos

“Please help!” prayed my erstwhile colleagues, “our 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!”

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.

# 9 The Outer Ones (2018) – 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.

#8 Great Is Our Sin (2016) – Indeed, but Revocation’s 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 “Monolithic Ignorance” serving up festering fun and “Only the Spineless Survive” providing the band’s 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’t showcase the band’s strengths.

#7 Empire of the Obscene (2008) – In a way, it’s 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’s just too perfectly executed. For a young band, Revocation have a self-assuredness that evades many veteran groups, even as the death-thrash trinity’s 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.

#6 Netherheaven (2022) – 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’s highlights (“Galleries of Morbid Artistry” and “Re-Crucified”) 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’s runtime. Netherheaven recovered much of the charm that The Outer Ones jettisoned but doubts as to the band’s future form remain.

#5 Existence is Futile (2009) – Empire of the Obscene really didn’t need to be improved upon, but Revocation are moved not by need but possibility. Existence is Futile’s 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 “Pestillence Reigns” and “The Brain Scramblers” were a revelation, and bruisers like “Dismantle the Dictator” and “Anthem of the Betrayed” gained the group countless new adherents.

#4 Revocation (2013) – One of the lesser-appreciated joys of the Revocation discography are the band’s 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 (“Invidious”). Revocation capped the first era of the Revocation discography in impeccable form with their most front-to-back memorable LP.

#3 Deathless (2014) – 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’t heavy just for the sake of being heavy; it’s just as lithe and unpredictable as the records before it, but with a grim grace to its winding songs and some of the band’s most emotionally resonant solo work (see “Witch Trials”) and most poignant political criticism (“Beholden to their corporate masters/ politicians privatizing genocide/ condolences offered by the same who pulled the trigger” – “The Fix”). Without the grating title track, the record would be just about perfect.

#2 Teratogenesis (2012) – Many will argue (incorrectly) that Teratogenesis, Revocation’s 2012 EP hot off of the release of Chaos of Forms, is the group’s magnum opus. Granted, “The Grip Tightens” might be their best song, and, granted again, “Spurn the Outstretched Hand” 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 “Teratogenesis” would prove to be the blueprint for the rest of their career, and “Bound By Desire” 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’s no horn section!

#1 Chaos of Forms (2011) – That Chaos of Forms is the highest among the Revocation records is almost axiomatic. From the opening bass slide of “Cretin” to the raving closing of “Reprogrammed,” there’s not a second of Chaos of Forms that doesn’t 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, “Cradle Robber,” 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’s 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’s narrated by the Grim Reaper. The only time it does is when the music is “The Watchers,” which breaks out into a gallop halfway through before stampeding its way into a big, brassy introduction for producer Pete Rutcho’s funky little organ solo. Simply divine.

Maddog

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’ balance of death-thrash riffs and thoughtful melodies swept me off my feet.

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.

In 2025, Revocation is a cornerstone of my music taste. I love death metal; I love thrash’s energy; I love creative songwriting; I can’t help but love Revocation. Most of all, I love their consistency. Even the other two classic bands I’ve helped rank here (Suffocation and Dying Fetus) don’t have as deep a bench of memorable releases.

And so, perhaps you’re better off ignoring our concerted but pitiful attempts to dissect Revocation’s history. After all, this is Revocation; just listen to all of it.

#9. Empire of the Obscene (2008). Empire of the Obscene is merely a good album, but it lay the groundwork for Revocation’s career. While Empire isn’t as thrashy as its successor Existence Is Futile, melodeath permeates both its guitar leads and its riffs, which are textbook but punchy (“Summon the Spawn”). Despite its inconsistency, Empire of the Obscene hints at Revocation’s burgeoning strengths. The most brutal segments are death metal riffcraft at its finest (“Fields of Predation”), 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’s a fun listen, but falls short of Revocation’s best.

#8. Deathless (2014). While Deathless is a worthwhile release, it doesn’t excel in any of Revocation’s usual dimensions. Frequent mid-paced riffs lose my focus throughout (“Madness Opus”), 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 (“Apex”). The dwindling of Revocation’s thrash influences kneecaps the record. However, the exceptions save Deathless from the compost bin. The death-thrash menace “Scorched Earth Policy” houses one of Revocation’s most frantic and dangerous riffs, while the proggy adventures of “Witch Trials” hit hard because they’re tied together by punchy melodies. Deathless doesn’t top its neighbors, but it’s no slouch.

#7. Netherheaven (2022). Netherheaven’s ordinariness feels out of place. Revocation’s 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’s most brutal release, Netherheaven wows with the gigantic “Galleries of Morbid Artistry” and the rifftastic closer “Re-Crucified.” The occasional glimpses of Revocation’s former flair also go a long way, like the playful opening of “Strange and Eternal.” That said, Netherheaven suffers from inconsistency, with middling second-half tracks like “The 9th Chasm.” The technical spectacles feel like dispassionate exercises, and the lack of variety makes the album less replayable than Revocation’s best works. Still, there’s no shame in making rock-solid death metal. It’s telling that even my seventh-favorite Revocation album made my 2022 list.

#6. Revocation (2013). Often overlooked, Revocation’s self-titled showcases some of the band’s greatest guitar work. At this stage of their career, Revocation had mastered both the weird and the powerful. On one end, “Fracked” might be the guitar highlight of the band’s career, culminating with a virtuosic but punishing chorus and a climactic solo. Standing opposite, “Spastic” is a jazzy spectacle but holds my awe throughout. Uniting these worlds, “Invidious” blends a banjo intro, playful melodies, and a furious thrashy back half, while the shapeshifting “Archfiend” 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.

#5. Chaos of Forms (2011). The aptly-titled Chaos of Forms is the wildest release of Revocation’s career. The infinitely thrashy tracks that kick things off are a riot, but they’re the tamest part. The album’s guitar effects (“Harlot”), lilted jazzy melodies (“Conjuring the Cataclysm”), and 1970s-inspired key digressions (“The Watchers”) 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’s fiercest death-thrash riffs; indeed, “No Funeral” might be the greatest live performance I’ve 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’t Revocation’s most memorable record, but it’s easily the most ambitious.

#4. Teratogenesis (2012). The 22-minute Teratogenesis utilizes the EP format brilliantly, offering an action-packed tour through Revocation’s style. “The Grip Tightens” is a perfect crystallization of death-thrash, complete with both an iconic opening riff and one of metal’s most enduring music videos. Meanwhile, “Maniacally Unleashed” adventures from thrashy riffing to serene melodies as well as any other track in Revocation’s 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’s Human Waste. It isn’t flawless, but it’s an indispensable encapsulation of Revocation’s career. I can’t imagine them without it.

#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’s most melo- and least mellow album. Skeletonwitch looms large, and the album infects me through its chunky riffs (“Pestilence Reigns”), its jubilant solos (“Anthem of the Betrayed”), and its irresistible choruses (“Reanimaniac”). Even still, Existence Is Futile’s most enduring achievement is its thirst for adventure. The narrative evolution of the instrumental “Across Forests and Fjords” resembles Insomnium’s Winter’s Gate; 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’s most consistently fun release, achieving immortality through the energy of thrash and the creative power of prog death. Revocation’s sophomore record isn’t immune to thrash metal’s age-old pitfalls, and the album’s weaker riffs occasionally bleed together. Even so, Existence Is Futile is the highlight of Revocation’s high-octane early career.

#2. The Outer Ones (2018). Yes, if you want a party anthem, don’t look here. But fun takes many forms, and The Outer Ones’ narrative prowess stands out. The album’s Lovecraft-inspired tales and Revocation’s best-ever vocal performance hold each track together. The instruments follow suit. The riffs achieve an unholy blend of melodic weirdness (“The Outer Ones”) and raw force (“Of Unworldly Origin”). The choruses rank among Revocation’s best, peaking on the underrated blackened death spectacle “Luciferous.” Dave Davidson and Dan Gargiulo’s technical wizardry arguably reaches its apex, across both unhinged riffs and soaring solos (“Blood Atonement”). Even these highlights don’t do justice to The Outer Ones’ remarkable consistency; though it takes a small dip in “Vanitas” and peters out with “A Starless Darkness,” 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. While Kronos has evaded justice so far, I hope to honor this request; The Outer Ones is one of Revocation’s creative peaks.

#1. Great Is Our Sin (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’s strengths coalesce here, and every moment counts. While Netherheaven is Revocation’s most brutal album, Great Is Our Sin’s heftiest cuts can shatter steel (“Altars of Sacrifice”). While Chaos of Forms leans into the bizarre, Great Is Our Sin’s stealthy escapades are even more engaging (“The Exaltation”). While Revocation’s earlier releases emphasize the rhythm section, “Monolith of Ignorance” is a gleaming monument to bass- and drum-led evolution. While Existence Is Futile embraces the fun factor, “Altars of Sacrifice” could dunk on it with both feet planted. While Revocation showcased the emotional range of a guitar, “Cleaving Giants of Ice” stands toe-to-toe through its melodic dirge for polar ice caps. These disparate elements fuse into the masterful “Communion,” whose jazzy opening, thrashy verse, crushing chorus, and enthralling solo make it a landmark in both Revocation’s career and death metal history. Put simply, when I’m in the middle of any Great Is Our Sin track, I can’t imagine listening to anything else. That’s the surest sign of excellence.

A short, sharp primer to convince the unconvinced…

Empire of the Obscene (2008)

• “Tail from the Crypt”

Existence is Futile (2009)

• “Pestilence Reigns”
• “Reanimaniac”

Chaos of Forms (2011)

• “Cradle Robber”
• “No Funeral”

Teratogenesis (2012)

“The Grip Tightens”

• “Maniacally Unleashed”

Revocation (2013)

• “Numbing Agents”
• “Fracked”

Deathless ((2014)

• “Scorched Earth Policy”
• “Witch Trials”

Great is Our Sin (2016)

• “Arbiters of the Apocalypse”
• “Cleaving Giants of Ice”

The Outer Ones (2018)

• “The Outer Ones”
• “Luciferous”

Netherheaven (2022)

• “Strange and Eternal”
• “Nihilistic Violence”

The post AMG Goes Ranking – Revocation appeared first on Angry Metal Guy.

Castle Rat hit the ground running with their warm and cozy retro sound intact, albeit featuring a livelier, louder and more propulsive reiteration of the sound established on the debut. Whether listeners find their whole deal too gimmicky or not, it’s tough to doubt the authenticity and passion for their chosen style. Castle Rat channel a ’70s psychedelic haze, prominent Black Sabbath influence, and share surface similarities with acts such as the underrated and enchanting Purson, and modern stoner doom merchants Green Lung. The Bestiary is an altogether harder-hitting and boisterous entity compared to the debut, jacking up the NWoHM and fantasy-inspired bombast for extra crunch. “Phoenix I” unfurls in a slow-burning, dramatic and deliberate fashion, setting the scene for Pinkerton and co to unleash their full fury.

The Bestiary’s increased gallop and fiery guitar work ignite around the poppier sensibilities and smooth central doom grooves and prevalently catchy vocal hooks. Although not the most distinctive frontwoman in the biz, Pinkerton’s silky vocal hooks and confident, commanding delivery continue to a key focal point. Right out the gate, Castle Rat stockpile big-hitting rockers, courtesy of the bluesy doom swagger and earworm hooks of rollicking gems, “Wolf I” and “Wizard.” “Siren” keeps the good times rolling, employing tense rhythmic builds and seductively sinister vocals to cast its spell. There is an easy-to-like simplicity and infectiousness to Castle Rat’s songwriting that shines when the band’s craftsmanship is at its best. Dialing up the epic-ness and adding extra crunch and pepper creates a burlier, higher-octane effort. Within the rowdier experience, Franco Vittore (aka The Count) belts out some blazing solos, while lending doomy weight to straightforward rockers (‘Serpent, “Dragon”) and a grinding, ominous touch to “Unicorn.” Castle Rat’s willingness to experiment outside their comfort zone results in an adventurous, though mixed bag. The softer material nails mysterious, foreboding atmospheres and changes pace, though these shorter pieces are generally less engaging than the album’s rockier fare.

Amidst The Bestiary’s endearing and infectious songwriting, drawbacks appear, tainting an otherwise enjoyable opus. The bricked mastering and loud production detract from the music’s warmth and endearing charms. This issue is felt in numerous areas. The drums lack punch, the mix is squashed and muddied, while dynamic shifts, such as acoustic forays, or the noisy, climactic cacophony on “Unicorn” and “Sun Song” are sapped of their power, dulling impact. Another notable change from the debut is the increased runtime, climbing to nearly fifty minutes, in contrast to its predecessor’s refreshing efficiency. There are momentum drops and pacing issues. These factors and the front-loaded nature of the album contribute to bloat. An intro, outro, mid-album instrumental piece (“Path of Moss”) and three decent, acoustic-driven folkier tunes have their merits but combined contribute to pacing issues and overall padding.

Into the Realm was an impressive debut outing, signaling Castle Rat as a fresh force pedaling retro and fantasy-clad doom to strong effect. The Bestiary marks an ambitious, solid, if flawed follow-up. Significant production concerns and the aforementioned pacing issues, bloat, and an uneven backend detract from an album that reaffirms Castle Rat as a talented band with old school values and a vision to diversify their formula with intriguing results. While not everything hits the mark, there is still much to unpack, some killer tunes, and fun to be had. Hopefully Castle Rat can channel their creativity into a more consistent, tighter effort next time round.

Rating: 3.0/5.0
DR: 3 | Format Reviewed: 2304 kbps (Lossless)
Label: Blues Funeral Recordings
Websites: bandcamp | Facebook
Releases Worldwide: September 19th, 2025

The post Castle Rat – The Bestiary Review appeared first on Angry Metal Guy.