New Gods, New Masters

New Gods, New Masters is Revocation operating with purpose. The record is dense, technical and frequently hostile, but it does not hide weak songwriting behind dexterity. Its best passages work because the riffs have clear rhythmic identities, the arrangements know when to accelerate, and the more unusual details arrive as structural tools rather than trophies.

This is complexity with teeth: intricate enough to study, direct enough to hit immediately.

The title track begins with immediate authority. Its central patterns are intricate without becoming fussy, and the drumming gives each shift a physical logic. “Sarcophagi of the Soul” follows with a more grinding shape, allowing the groove to become part of the punishment. Revocation are especially effective when the rhythm section treats odd groupings as propulsion instead of homework.

“Confines of Infinity,” featuring Travis Ryan, raises the vocal and textural pressure without derailing the album. The guest appearance fits the track’s compact aggression. “Dystopian Vermin” is leaner and more direct, while “Despiritualized” uses abrupt transitions more effectively, placing each rupture where it can sharpen the next riff.

The most conspicuous left turn is “The All Seeing,” featuring Gilad Hekselman. Its value is not novelty alone. The different phrasing creates useful friction against the surrounding machinery and briefly changes how the album handles space. “Data Corpse” then snaps back toward concentrated technical death metal, providing one of the record’s most efficient combinations of detail and impact.

The closing pair is strong. “Cronenberged,” with Jonny Davy, sounds built around mutation and pressure, while “Buried Epoch,” featuring Luc Lemay, carries enough weight to justify its position at the end. Neither track feels like a guest list attached to an unfinished composition; the external voices serve already coherent songs.

There are moments when the density compresses the album’s dynamic range, and a few passages could benefit from less information. Still, the record’s discipline is obvious. New Gods, New Masters is technical death metal that remembers the first obligation is to write riffs worth following. It rewards close listening without requiring analysis before enjoyment. That balance is difficult, and Revocation achieve it more often than not.