Western Massacre - "Freedom Through Violence" Review

"“Freedom Through Violence” is a muscular, powerful synthesis of death, thrash, and hardcore – all sifted through a filter of mid-tempo groove, spiked with irresistible hooks, and shorn of predictability."



Standing out from the herd is no easy task, as struggling local metal bands (a redundancy, perhaps) the world over will no doubt inform you. If it were, then everyone would be special – and then no one would be. Then we’d all die of boredom. Butt-Head, wise beyond his own understanding, put it best: “If nothing sucked, and everything was like, cool all the time… how would you know it was cool?”
Boasting a moniker that’s at once a clever geographical pun and a loving homage to the music scene that spawned them, Western Massacre possess a magic touch that catapults them light years ahead of the gaggle of underground bands vying for fans across America. Content neither to repeatedly rehash the same Exodus song, nor to drown you in breakdowns, this band has built a loyal following through inspired songwriting that pays collective tribute to various styles of metal while forging an identity of its own. Their full-length debut “Freedom Through Violence” is a muscular, powerful synthesis of death, thrash, and hardcore – all sifted through a filter of mid-tempo groove, spiked with irresistible hooks, and shorn of predictability.
Don’t assume to know what’s around the bend before your first spin is complete. Opener “Steel Casket,” for example, hits you all at once like a Tiananmen tank in a doomsday explosion of drums, bass, guitars, and frontman Matt Lentner’s gutturals. But before the thirty second mark, rhythm guitarist Chad Hoag and lead shredder Kyle Leary take flight with an infectious interplay that is to form the core of Western Massacre’s sound. Then we get a lasso-swinging riff divined straight from Pantera’s ever-present ghost. This Dimebag influence remains welcome throughout, shining through on “Roadhouse” and peaking on the brilliant “Defector.”
Other standout influences include the mournful harmonizing leads of ‘90s Gothenburg melodic death, captured most pristinely on “Facelift” and “Blood and Stone.” Bastardized by American metalcore – a style whose best traits Western Massacre adopts while skirting the genre tag – the Scandinavian strains here come across as invigorating and appropriate for a change. The whole affair stirs the fresh sense of awe at hearing genres mixed for the first time; the excitement of spinning ’93-era Carcass and wondering who let that strange "Amott" fellow through the door.
To summarize, this is memorable stuff that will seize your attention, burrow its way into your brain, and stay there. While the frequent gear shifting within individual songs can occasionally hinder Western Massacre’s ability to bust out a straightforward, classic barn burner (think Lamb Of God’s “Redneck”), the transitions are handled with a deft and steady touch – as are the writing and performances in general, for that matter. This band refuses to rely solely on speed, aggression, and volume to make an impact; theirs is a calculated and controlled Massacre, anchored by their secret weapon: the groove-based rhythm section of drummer Jeff Greene and bassist Nate Larsen. These songs don’t simply make you bang your head – they make you MOVE.
“Freedom Through Violence” is an extremely rare, unexpected, and impressive achievement for an unsigned band still paying its bloody, sweaty, and tearful dues in regional clubs.

Highs: Stellar, memorable guitar work and sexy grooves throughout.

Lows: Each song contains too many changes of pace to qualify as a signature live "anthem," but the capability is certainly there for the future.

Bottom line: A catchy and impressive debut of dark, melodic "DeathGroove" from one of the finest bands in years to emerge from the Western Massachusetts metal scene.

Cormorant - "Dwellings" Review

USA's Cormorant's past releases have caught the extreme metal scene by storm, with their debut EP and full length album garnering critical acclaim through their unique fusion of various different extreme metal sub-genres. Dwellings sees the band continue in the direction where they have set off from, and their appreciation of different kinds of art-forms is evident from their album artwork, which incidentally was the first thing that caught my attention and piqued my curiosity regarding the music behind the artwork.

The opening riffs of The First Man already displays the folk influences that are present on the band's music, before the vocals of Arthur come in, with almost a sense of frenzy in his vocals, spitting out the lyrics to the songs with much rage and fury, but as the album progresses this makes him seem to only put on a false aggressive front, though this is certainly not something to complain about with the brilliance of the music that one is about to discover. Despite the pace that the band travels at, there is a weird sense of calm and peacefulness in the music as well that is displayed through the melodies of the songs. Unlike many other bands of similar genres, there is not much gain on the guitar, lacking the bite that most extreme metal bands utilise, but this helps in making the softer and more melodic passages on Dwellings more soothing and sincere. Vocalist Arthur also utilises different vocal approaches, depending on and adapting to what is going on in the background, ranging from extreme metal-styled growls and screams to clean vocals and whispers. The clean vocals that are present on songs like Funambulist remind listeners of such French bands as Amesoeurs and Alcest, with the pleasing vocal quality.

The music on Dwellings, as already mentioned, is mostly soothing and at times border on epic and atmospheric. For example, on Funambulist, the band takes a slowdown, focussing on producing a huge wall of sound with an almost fuzzy guitar tone. This is not to say that there aren't heavy moments on the album though, as songs like Junta sees the band slowing down their music even further to a doom-pace, with heavily palm-muted riffs and hard hits on the drums, displaying the heavier side of Cormorant. There are also slightly more upbeat moments on tracks like A Howling Dust as well.

Throughout the album, the various instruments are also noticed to be made use of fully, especially the rhythmic instruments such as the bass of Arthur, with the softer segments seeing the bass taking over the lead role. The guitar solos also seem to take the role of bringing out and accentuating the emotional aspects of the music, with the soaring tone of the guitars, and guitarists Matt and Nick letting their instruments wail, at times sounding as if they were mourning the passing of a close friend. Drummer Brennan displays his versatility as well, through the band's rapid switching between fast and slower moments, incorporating odd time signatures at the same time, yet never missing a single beat. The band's abilities on their instruments is perhaps most evident on the instrumental Confusion of Tongues.

The strength of the band's songwriting is such that even long tracks that range in the 10 minute region such as Funambulist and Unearthly Dreamings never fail to entertain and keep listeners enchanted, not only through the variations in the musical style in a single song, but also through the charismatic execution of the track, and the perfect amount of emotions that they have included in their music. With music as strong as such on Dwellings, it leaves one wondering why bands like Cormorant remained unsigned by major labels, but it could just as well remain so, considering the quality of the work that the band has managed to put out so far on their own, putting many other more recognised and more experienced bands to shame.

The Fathomless Deep - "The Fathomless Deep" Review

Review from metalunderground.com

The Fathomless Deep’s debut self titled release is a medley of songs that tend to stick with the listener long after they’ve walked away from it. Perhaps somewhat untypical for a Finnish band, these guys have taken a far lean to the more avante-garde aspect of metal; reminiscent of bands like Unexpect, while still being brutal enough to be considered death metal.
One of the really special aspects about the album is the diversity of the musicians. The vocals are for the most part quite harsh, ranging from highs to more growling, dirty lows. A personal favorite off of the album is the track “Beneath Cursed Waters,” where we are treated with duets between epic clean vocals that battle the seas on waves of growls that threaten to bury everything in their way.
The Fathomless Deep has managed to create a completely unique compilation, and one that tends to shift styles in almost every song. The musicians have given their instruments personalities that differ and change just as our own moods do. At times it seems as if the guitars are having arguments with each other and at these moments the violin steps in to make peace, while the vocals authoritatively and effectively conquer and force submission from all.
Combined with the soaring notes of the melancholy, yet at times enraged, violin, the guitars manage to hold their own and still be leading instruments. Unlike many violinists who are content to be in the background, the composer here has made violin melodies an integral part in every song. This album will appeal to listeners fond of changing it up a bit, those of us who are tired of the same few recycled riffs and overused genres, from this refreshingly creative group.

Highs: A unique metal album that is full of variety.

Lows: No real lows for me, though listeners of more standard genres of metal might feel lost with this release.

Bottom line: The Fathlomless Deep will be highly appealing to fans of death metal, as well as those who appreciate avant-garde metal. This album will become a regular listen for ears that are prepared for it.

official website : thefathomlessdeep

Stillborn - Los Asesinos Del Sur Review

Hailing from Poland, Stillborn are a Death/Black metal horde whom simply blow away some of the big hitters from their native country. Judging by ‘Hymn of Destruction’, you can hear a Behemoth influence, an earlier incarnation of them that is. There is thundering cavalcade of sound hitting your receptors. The tacks lengths are pretty much spot on, I cannot stand groups that go on and on with the same riff and melody just for the sake of it. Stillborn hit you hard then leave you for dead, ‘Diamonds of the Last Water’ dutifully emphasises this. 

One thing I also find appealing is the artwork, it’s not your standard black and white devil worshipping contender for art attack, it has a little soul, a little mystery and the way the bands logo is morphed into the colours works rather well to my eyes. Other things that work well is the consistent level of furious musicianship, without the need to go overtly technical, or far beyond necro, the mix of death and black metal sits perfectly balanced, in some quarters you even gain a bit of groove. ‘Los Asesinos del Sur’ (loosely translated to ‘The Assassins of the South’ is the longest track on the release, at over 6 minutes I am expecting something a little different. This is personified with tempo changes from a slow build up to a near SweDeath riff experience until the speed really up’s the mood whilst poking through a little more of their blackened influence, but in this quarter, the change from black to old school death is seamless, I have to commend the level of musicianship and the arrangement. 

Breeding many a killer, certainly no filler, Stillborn (Pol) really have their musical cross genre nailed to a tee. ‘Los Asesinos del Sur’ is both aggressive, entertaining and on the whole, a very good place to spend your time and money.

Vallenfyre – A Fragile King

2011 might as well be dubbed the year of Swedish Retro Death. Band after loathsome band has burst from the underground to pay rancid homage to genre legends like Entombed, Dismember and Grave. Despite the sheer volume of the stuff, Steel Druhm has remained supportive and for the most part, the trend hasn’t worn out its welcome. Now we get Vallenfyre‘s debut full length from a veritable death metal super group featuring members of Paradise Lost, My Dying Bride and Cradle of Filth. With such a pedigree, it shouldn’t be too surprising when A Fragile King has everything you would reasonably expect from a Swedish death album. It’s chunky, thick, nasty and vile. It’s an ode to all things Entombed with a sizeable injection of Celtic Frosty goodness as well. At times, its so much like the immortal Left Hand Path it’s uncanny, yet it also brings in plenty of dire dirges to shake things up. This MOFO was conceived in unholy sin, birthed in ungodly filth and raised on bloody carnage. There’s a guitar sound heavy enough to fracture your vertebrae and vocals so grisly they’ll disturb the deranged. But, you rightly ask, is it actually good? Oh yes, it’s really good! This is unapologetically retro and doesn’t strive for innovation but it nails home the tried-and-true Swedish sound with the subtlety of a Panzer division. How this will sit with you depends entirely on your tolerance for more Swedish death. If 2011 has fed you all the old-time death you can stomach, move along and I won’t think less of you. If not, belly up to the death buffet and chow down on this meatloaf of the damned.

As soon as the guitars roar to unlife in opener “All Will Suffer,” you know you are in for a harrowing experience. The basic Sunlight Studios guitar tone is there but sounds even more murky and raw that it did back in the salad days of the style. The tempo is slow to mid-paced and the riffing will remind old-timers of the pummeling might of Celtic Frost. One hell of an opener for sure. “Desecration” ups the speed and throws in creepy, slithering riff patterns and mournful, forlorn solos not unlike those heard on the first Entrails album (listen at 3:57 for a very moody, glum example). Elsewhere, songs like “Cathedrals of the Dread” and “Seeds” feature super doom riffs  of Trouble and Saint Vitus proportions accompanied by raucous death metal. “Seeds” in particular works very well as a creepy, doom-death gem. Numbers like “Black Siberia” and “The Divine Have Fled”  go right for the classic Entombed playbook and get it pretty close to perfect. At no point are things technical, progressive or clean. It’s all raw, dirty and crushingly heavy. The writing is crisp, the songs all have memorable aspects to them and there’s plenty of variety in tempo and dynamics.

The guitars are the guts of Vallenfyre and the ridiculously heavy riffing is admirably rendered by Hamish Hamiliton Glencross (My Dying Bride) and a gentleman simply known as Mully. The tone is gigantic,   hideous and the riffing will give   you the sensation of being run over by an armored column, which later backs over your corpse just to be dicks. Gregor Macintosh’s (Paradise Lost) death croaks are low, phlegmy and very convincing (this album is his attempt to work through some personal tragedy and loss). His bellowing, along with the relentless sledgehammer riffing will cause you to feel a touch of bell’s palsy in and around the facial area (it’s just a partial paralysis). The production is solid, nicely raw and basically serves to amp up the guitar buzz to insane levels of sonic abuse. It’s distortion for distortion’s sake and I never argue with that (it’s death metal, after all).

At the end of the day, there’s a shelf life to the whole Swedish death retro wave and its expiration date is drawing ever nearer. I love the sound, I love the style and I really enjoyed most of the retro releases this year, including this one. But, even I can’t handle the volume with which this stuff is currently propagating. However, I have no hesitation recommending this platter of plague and pain. It’s brutal, skull cracking music done by vets of extreme music, for fans of extreme music. Ponderous man, fucking ponderous.

Profane Omen - "Destroy!"

Profane Omen recently celebrated its third full length release “Destroy!” this past September. These guys have their traditions set in melodic death metal, however this album can’t be labeled under such a limiting category! We have an album with ten songs, and arguably ten unique styles.

The first track on the album, “A Force to be Reckoned With,” is bouncy, brutal, and damn likely to get stuck in your head for days. The songs flow effortlessly from upbeat rock while still being very riffy, to Pantera-sounding vocals that wrench at your soul. Jules Näveri goes from dirty to clean and never sacrifices quality or sound, something that makes him stand out from many other vocalists in metal.

To make the whole album even more interesting are the two slower songs, “Acedia” and “Feed on the Wasted.” These are two tracks in which the songwriting versatility is clearly shown. On earlier songs in the album we have this recurring thrashy, groovy vibe, whereas these ones are downright ballad-y. “Acedia” starts off with a touch of bluesy guitars in the beginning to keep it flowing, and keyboards that beautifully complement the song. Midway through the song breaks into a chorus with heavy guitars and vocals that break your heart just enough to make the song a favorite. The track quickly turns with a very rock ‘n’ roll influenced guitar solo, and ends on a high note.

Every song on this album captures the raw energy and passion of a live show, and manages just the right levels of production to keep it clear, but far from being overdone. Profane Omen does a beautiful job of integrating thrash metal and hard rock into the brutal death metal setting, in a way that’s bound to leave many different listeners content and wanting much more. “Zombie Riders” nicely finishes the album, starting out with these deep growls that truly make you wonder if that was the same Finn on all the other songs.

Throughout the album it’s easy to see where Profane Omen has drawn inspiration from, as fans of bands like Pantera and Metallica will enjoy this release tremendously. This is an album that shows great musicianship and passion, from the vocals to the crisp guitars and flawless blastbeats. This is truly a diverse pool of genres brought together in one great album.
A release that will please many different listeners, fans of thrash metal, death metal, or just plain rock will find a favorite in "Destroy!".
A damn good and well rounded release which will become a well loved addition to any metal lovers collection.

"This is an album that shows great musicianship and passion, from the vocals to the crisp guitars and flawless blastbeats."

"Destroy!" track listing:

1. A Force To Be Reckoned With
2. Wastehead
3. Predator
4. Feed On The Wasted
5. Escape / Traceless
6. Bad Dreams
7. Acedia
8. Bound To Strive
9. Zombie Riders

Human Mastication - Persecute to Bloodbath

And then Human Mastication has finally raised back to Death Metal audiences with the umpteenth EP entitled Persecute to Bloodbath as a prelude to the second full- length with the same title. As long the album had been prepared, the enthusiasm was in spendour especially from the promotion. Human Mastication have done some regional shows in their country Philippines with much applause and attention from South East Asia scene schemers. And from their official label, Sevared Records correctively they have received a reliance to join a huge part of this brutal label since their first EP. Increasing capacity as well due their shape of musicality wherein the crushing style is on concept of this album rather than the horrid slamming as it’s poured in last albums. Deicide riffs appear so obvious with Disgorge aggressiveness to form the originality concretising their evolutionary musicality pinning the mature age. Almost same with the last album and more definitive the turn, the theme that’s written with their existentialist approach propping the subjective side although the barbaric display of the cover makes disambiguated the meaning. Still wicked and damned as hell, how artwork is on good quality. And if we observe deeply they have found a flexibility to measure their sound and austerity. From 7 tracks that are available in this release, there are 5 mainstay original songs also a song from Disgorge that’s covered curved and an unfixing instrumental outro-- some are also included in the split album with Smallpox Aroma. It’s so spirited to sense the tight groove from guitar tunes with progressive trilling also the dark and peculiar advance where the drum is not too fastness to the speeds almost and remaining the invulnerable slamming sensibly. If we listen more the styles are into Hoffman brothers met Diego Sanchez punctuality. The first song “Repulsive Display of Dismembered Bodies” is a descriptive figure to open the vigour with emphasizing velocity as it’s on the measure to level the other songs. Something that’s absolutely excellent where Ryan Gee the vocalist is to strength and in reference by the patterns of Disgorge (U.S) and Devourment vocalists from his guttural insanity, like Levy Fuselier nor Mike Majewski with strengthening the mid- respiration of the technique. And as we know it’s not common and easy the way he do. Legalising the heavyweight, the bass is strongly blended to the side although the form is expanded bouncing back, the songs except the bonus tracks “Dragged and Raped for My Feast” and outro that are appeared raw and progressive with the less- neat heaviness. Continuing the decipherment, the song “Persecute to Bloodbath” is as one of the finest songs which the arrangement is so invulnerable due the riffs and rapidity shaping the shattering speeds and the slammed austerity. Another track as the fast song is “Deadly Visions of My Head” where the aggressive infestation is upon the line with accelerating the scales and quickly swindling the notes to the anticipated riffs. At the point of this band’s ability, the coverage song from Disgorge “The Womb Full of Scabs” sets in the context of complete and complex re-arrangement more than the band did at the past in the softly comprehension. Yes, a new talented Brutal Death band in worldwide scene they have nominated with their uncompromising attitude equal with some potential bands as Putridity, Condemned nor Vulvectomy that this time rise indulgently. And if we compare to the full- length of Persecute to Bloodbath that has circulated with other Death Metal releases surely this EP is valuable to name Human Mastication more surfaced. And influencing from Disgorge, Deicide, Suffocation also Devourment for this album makes the album’s sensibility is untainted and legible – a blend full of uniqueness – more than only brutality. And it’s so sincere recommended to the fans of those pioneer bands by the musical efforts of Human Mastication to prop the scene. A successfulness since the found in 2002 to create the term of Death Metal more than ordinary bands. And as you may admit from this splendour of extreme music, Human Mastication is the demising beast come from South East. Get a full version of the album than only this EP to find more conscience.

Track Listing: 

1. Repulsive Display Of Dismembered Bodies

2. Persecute To Bloodbath

3. Deadly Visions In My Head

4. Womb Full Of Scabs (cover Disgorge)

5. Obsession To Grisly Mutilation (bonus track)

6. Dragged And Raped For My Feast (bonus track)

7. Outro (bonus track) 

Putridity - Degenerating Anthropophagical Euphoria

Italy’s Brutal Death purveyors Putridity are on the way and come back soon with the second full-length album “Degenerating Anthropophagical Euphoria” as a newness form of musicality of their explicit brutality. More solid than the last album as in this CD they try to build the sound more progressive and complex due the shape. As long as the path from 2004, US death metal seems stick deep from the comprehension between Europe death metals to its countless implementation. Artificially implicit to adopt Disgorge, the past Decrepit Birth and some styles to create an incredible dimension of brutal death maturity. The cultural boundary is hardly made Putridity ignored among the Italian bands such as Hour of Penance, Faust, and Fleshgod Apocalypse where the horde is raised progressive from this recent years and appropriate to be leveled same in the universal scene from their definitive strength, however. As fact, Putridity have stood firmed and promising than the other bands that have been risen from the country -trusted be one of Willotip Records legions with the sub-urban and characteristic musical thesis of their existence without omitting the Italian death metal magnificence.

A little to describe how this album is very defensible and vigorous is where the arrangement platforms are fulfilled by some kinds of technicality such as: picked-twisted riffs, guttural pattern, boom-clanging bass and blast-beat drum or so- called the anticipated heavyweight brutality to its meaning. As it’s on the measure, the mediocrity is so rapid and due the doubly velocity which almost songs -created faster and strong to the horrid aware atmosphere. It’s so bearable to view deep the groove column from guitar with the slap-slide of the snares, pinched-harmonic also slam-intuitive to the styles. Also the progressive touch to the refracted passage. So forth, the drum appearance that’s full of punctuality to announce splattered speeds, unpredictable calculation and the multiple- hyperspeeds. As the anthological description, it may be to obviousness to some songs such as “Sodomize Epileptic Chunks”, “Masturbating The Infibulated”, “Innate Butchery Aptitute”, “Draining Necro Anal Disgorgement” and “Living Decomposition” as the best compositions in this release without leaving the others. And from 9 tracks there is an instrumental addition “Wallowing in Aftermaths” in the middle row that compromising by the guitar leads influenced from Cannibal Corpse habit. Enormously technical, wherein also the vocals are sent grunting, guttural and cricketing to fill the difficult parts forcibly with the aforementioned themes. Sex matter to the necessity with the psychological or gory quorum, whatever they take for the ambiguity it still be on the limit of perception. ...”The true man is always on the true way”… and that’s all if all are confused. As wideness, the soundness is constructed original and due the rigid heaviness, somehow the bass is severely collaborated with other instrument plays from solo until interlacing. The ordinary thing is where the blend is separated each other from each element that has to be mixed if it’s not prevented. But Putridity were in the mixing at the neat and dense results. This is that become an excellent capacity of this release besides production and the song writings.

On the rate, "Degenerating Anthropophagical Euphoria" is even to the new albums of "Human Mastication’s Persecute" to Bloodbath, “Realms of The UnGodly” by Condemned, "Annihilation Of Races" from Thirst Of Revenge and some more in the coming death metal releases todays including the specific genre. It may check them to how Putridity confers the grade to the audiences incepting the professional attitude. And if you are into death metal it’s awesome to collect this CD to support Putridity doing the promotions internationally, the last album is the great concepts, indeed this album is so ultimate farther to its corrective congruity of death metal art. Mentally, Putridity puts a sanity to the mass with their paradoxical expression to the unrecognizable reality that brutal death is one of the most intelligent genres in metal/ underground music, instead the best leaving the worst assumptions by the mainstream apostates. Absolutely goaled that Putridity efforts strengthen a brutal death term in the new standard of substantiality from year to year for decades introduced broadly. Putridity are in the time to handle the plurality attention and a nominated band outside the rip-off culture and commercialistic purpose. Find Putridity in your hegemonic way, forget your fear at the war of conception! Take it.

Blacksunrise - Oceanic

Well this is a new band for me, never heard of them before, they are a melodic death metal band from Portugal. Now this genre isn’t my particular favourite but I am open to listening to new things, so I bunged it on and boy was I pleasantly surprised! Now this band has been going since 2002 so they have honed their craft very well indeed.

So what have we here with this release, we have an 11 track belter of an album, straight from the off with the short instrumental intro we are up and running with a great release, the second track “Physalia/Physalis” then kicks in and a belter it is! Some cracking guitar work and a good pace throughout this track, this opening has me hooked right away and it doesn’t stop! One track to the next this is great stuff, musicians at the top of their game,reall top guitar work from both Joao Francisco and Andre, a super engine room of Fernando on bass and Ita on drums and a cracking vocalist in Sergio. Track 3 “Atlantida” is a real beaut of a track, my favourite of the whole album, fast as fuck in parts but with really good slower parts to it too. “Asgard Dies” is another great track with some atmospheric parts to it but some really great riffing too. The whole album is just one goodie after another, soon as one great track ends another just starts up, its that kind of release.

All in all I thoroughly enjoyed this album there is not a bad track on it, not one filler track on there at all. Recommend to all metal heads out there!! Can; say better than that!

Revocation - Chaos of Forms

Revocation is the kind of modern band that makes you proud a be a metalhead. This is a young, immensely talented outfit that harbors both serious respect and admiration for the metal of old and a desire put their own distinctive stamp on things. And as their sophomore outing Existence Is Futileproved, that stamp is a force to be reckoned with. A seamless mix of fun retro-thrash energy and futurist tech-death-inspired flair, Existence was such a ferocious and enjoyable blend that it was easy to get mighty excited about what this trio had in store for the metal world. And third full-length Chaos of Forms fully delivers on the promise shown by its predecessor, as this is one of the most original and flat-out entertaining albums to be released in a year that is already jam-packed with quality material.

Revocation certainly doesn’t waste any time out of the gate on their third LP, as opening twosome “Cretin” and “Cradle Robber” rocket forward from the starting line as two of the most intense songs the band has penned to date. While these tracks show the band at their most blistering, it's when they begin unleashing their endless variety of tricks and sounds that the album really delivers. The musicianship is, unsurprisingly, as impressive as ever. The drumming performance is fucking titanic, and the entire band just clicks seamlessly at the style they play, regardless of what tempo or riffing style they’re utilizing. I miss some of the bass-centric moments of Existence Is Futile, but the huge variety of tones and methods employed in the riff-writing department is quite simply a marvel to witness.Revocation’s ability to take tech-death riffs and deliver them with a thrashing, ferocious sense of timing and catchiness continues to set them apart from virtually all of their peers, and their dedication to delivering memorable songs is inspiring. Just take a listen to the obscenely catchy chorus to “Dissolution Ritual” or the delicious series of mind-bending melodies that conclude the title track – these guys have got it, folks.

While the core of Chaos of Forms is similar to its predecessor, no one can accuse Revocation of resting on their laurels with this release. The band has added some interesting stylistic progressions to their base that effectively separate it from their past two albums. I was surprised to see the inclusion of some hearty, melodic Darkane-esque vocals to the equation, and even more surprised at how well-suited they feel to the songs (particularly since the harsh vocals are starting to get a little stale at this juncture). The soaring vocal harmonies in tracks like “Conjuring the Cataclysm” add a new dimension toRevocation’s sound that opens up some interesting possibilities for future recordings. The Latin, blues, and jazz elements the band occasionally toys with feel a little more gimmicky, but considering the utterly unpretentious nature of the music as a whole, it becomes easy to just enjoy them as small breaks from the calculated chaos – the same goes for the keyboard/cowbell-laden breakdown in “The Watchers” (yes, really). No matter how absurd or out-of-place the genre-bending may initially seem,Revocation makes it stick in the long run.

In spite of the fact that the bulk of this music is basically an extension of Existence Is Futile, Chaos of Forms is a remarkably fresh and lively-sounding release. Revocation hasn’t succumbed to the trappings of their increased exposure or success, and if anything, they have challenged themselves even more to sound inspired while remaining true to their established identity. With both the technical death and retro-thrash/crossover movements losing steam, Revocation is boldly spearheading the growth of a new sound that’s technically proficient, relentlessly metal, and moderately accessible all at the same time. Chaos of Forms is an ideal follow-up to Existence Is Futile and one of the strongest albums of 2011, and if you still haven’t checked out what this band is doing, you’re missing out. Plain and simple.