Music

Revocation: Great Is Our Sin

Shredding eardrums with the mastery of technical death metal.


Revocation

Great Is Our Sin

Label: Metal Blade
US Release Date: 2016-07-22
UK Release Date: 2016-07-22
Label Website
Artist Website
Amazon
iTunes

After 16 years, it would be an extreme understatement to say, “Revocation knows their metal,” because with all the technicality and precision that goes into each one of their albums year after year, Revocation doesn’t just simply pay tribute to the greats, but has studied their craft so finely, they have created a sound that brings the essence of metal’s golden thrash and death age to today. Their sixth studio release Great Is Our Sin is another golden addition to the band’s library as each song delivers relentless thrashing of some of the most purest metal in 2016.

Great Is Our Sin pulls off two strong accomplishments, the first being the technical strength in instrumentation. The strongest part of the instrumentals is lead guitarist/lead vocalist (and only remaining founding member) David Davidson. Riff after riff, solos abound, and death metal chugging is what fills the realms of this dark whirlwind. Davidson understands metal and its sub-genres to their finer notes, and in every song he transitions from thrash to death heavy riffs with soaring high notes to brutal lows. The solos in particular are insane. They are work that legendary guitarist Dimebag Darrell (of the late Pantera) would be proud of.

The band’s other guitarist Dan Gargiulo compensates well for rhythm on his end, but one of the best surprises on this album is drummer Ash Pearson, who absolutely annihilates all the tracks with some of the most brutal use of blast beats and speed. Pearson covers in all the fills for the right times in each track, and never overplays everything, making him one of the heaviest and most talented drummers today. The instrumentals on this album are easily some of the best (if not the best) of 2016. The strongest proof of this is in the track “The Exaltation” (a pure instrumental track); it is every part chaotic and calculated as it hits hard, simmers slightly, then speeds off. For technical death metal, there is such a balance and mix of sounds, such as what can be found in “Copernican Heresy”; starting in grind and death heavy, then dropping into a pretty jazzy vibe, leading back into more grind and death.

The second great accomplishment that this album achieves is that it is pure straight-up metal fun. Davidson provides the most iconic death growls (with bits of clean vocals that work well when sprinkled throughout). These growls and yells mix great with the elements of death metal instrumentals, and add to the heaviness in the thrash. Lyrically it’s a fun album, playing on the typical metal lyrics of thrash and death bands such as Suffocation and Slayer. This bit from “Monolithic Ignorance” is exactly the sort of dark, brutal, fantasy-like atmosphere one is to expect: “A doomsday declaration, the signs we cannot ignore / The oceans start to boil, the dead wash up on our shores / Rivers flow with toxins, sickening all in their wake / Swallowing the poison, savor its virulent taste.”

Revocation has created easily one of 2016’s best metal albums out of Great Is Our Sin; with outstanding tracks such as “Theatre of Horror” and “Only the Spineless Survive”, this is an album from the very beginning to hook metal heads. Revocation is a collection of some extremely talented musicians (Davidson standing out as one of the best guitarists today, along with drummer Ash Pearson). The band has become true masters of their craft through constant dedication, understanding and studying their teachers, and constantly improving and spinning the elements of metal to create heavy, fast, and brutal music album after album.

9
Music


Books


Film


Recent
Books

Ivy Mix's 'Spirits of Latin America' Evokes the Ancestors

A common thread unites Ivy Mix's engaging Spirits of Latin America; "the chaotic intermixture between indigenous and European traditions" is still an inextricable facet of life for everyone who inhabits the "New World".

Film

Contemporary Urbanity and Blackness in 'New Jack City'

Hood films are a jarring eviction notice for traditional Civil Rights rhetoric and, possibly, leadership -- in other words, "What has the Civil Rights movement done for me lately?"

Books

'How to Handle a Crowd' Goes to the Moderators

Anika Gupta's How to Handle a Crowd casts a long-overdue spotlight on the work that goes into making online communities enjoyable and rewarding.

Music

Regis' New LP Reaffirms His Gift for Grinding Industrial Terror

Regis' music often feels so distorted, so twisted out of shape, even the most human moments feel modular. Voices become indistinguishable from machines on Hidden in This Is the Light That You Miss.

Reviews

DMA's Go for BritElectroPop on 'The Glow'

Aussie Britpoppers the DMA's enlist Stuart Price to try their hand at electropop on The Glow. It's not their best look.

Film

On Infinity in Miranda July's 'Me and You and Everyone We Know'

In a strange kind of way, Miranda July's Me and You and Everyone We Know is about two competing notions of "forever" in relation to love.

Music

Considering the Legacy of Deerhoof with Greg Saunier

Working in different cities, recording parts as MP3s, and stitching them together, Deerhoof once again show total disregard for the very concept of genre with their latest, Future Teenage Cave Artists.

Music

Joshua Ray Walker Is 'Glad You Made It'

Texas' Joshua Ray Walker creates songs on Glad You Made It that could have been on a rural roadhouse jukebox back in the 1950s. Their quotidian concerns sound as true now as they would have back then.

Music

100 gecs Remix Debut with Help From Fall Out Boy, Charli XCX and More

100 gecs' follow up their debut with a "remix album" stuffed with features, remixes, covers, and a couple of new recordings. But don't worry, it's just as blissfully difficult as their debut.

Television

What 'Avatar: The Last Airbender' Taught Me About Unlearning Toxic Masculinity

When I first came out as trans, I desperately wanted acceptance and validation into the "male gender", and espoused negative beliefs toward my femininity. Avatar: The Last Airbender helped me transcend that.

Interviews

Nu Deco Ensemble and Kishi Bashi Remake "I Am the Antichrist to You" (premiere + interview)

Nu Deco Ensemble and Kishi Bashi team up for a gorgeous live performance of "I Am the Antichrist to You", which has been given an orchestral renovation.

Playlists

Rock 'n' Roll with Chinese Characteristics: Nirvana Behind the Great Wall

Like pretty much everywhere else in the pop music universe, China's developing rock scene changed after Nirvana. It's just that China's rockers didn't get the memo in 1991, nor would've known what to do with it, then.

Reviews
Collapse Expand Reviews

Features
Collapse Expand Features
PM Picks
Collapse Expand Pm Picks

© 1999-2020 PopMatters.com. All rights reserved.
PopMatters is wholly independent, women-owned and operated.