Revocation have never been a band to play it safe. For two decades, Dave Davidson and company have been crafting some of the most technically charged, forward-thinking extreme metal around. Now, with their 20th anniversary upon them, the Boston-bred quartet are back with New Gods, New Masters—a record that doesn’t just push their sound forward, it digs deep into the looming shadow of technology, AI, and humanity’s dangerous tendency to worship its own creations.
That theme runs like circuitry through the album’s nine tracks. Songs like “Cronenberged” (featuring Jonny Davy of Job for a Cowboy), “Confines of Infinity” (with Travis Ryan of Cattle Decapitation), “Buried Epoch” (featuring Luc Lemay of Gorguts), and “Dystopian Vermin” confront AI, dystopia, and society’s digital addictions head-on.
Expanding the Sound with Guest Collaborators
One of the album’s most striking elements is the range of collaborations. Davidson was quick to praise his peers:
- Jonny Davy brought an inhumanly unhinged performance to “Cronenberged,” embodying a mutated lab escapee straight out of a horror flick.
- Travis Ryan’s tortured roar was the perfect match for the sludgy, vengeful AI of “Confines of Infinity.”
- Luc Lemay’s brutal yet emotive voice closed the record on a chilling note with “Buried Epoch.”
- And in a surprise twist, jazz virtuoso Gilad Hekselman delivered an awe-inspiring outro solo on “The All Seeing,” blurring the line between genres while showcasing Revocation’s fearless creativity.
Fresh Blood and Studio Magic
While Davidson spearheaded the writing, he credits new recruits Harry Lannon (rhythm guitar/backing vocals) and Alex Weber (bass) with injecting new energy into the band. Alex even tracked his bass parts remotely, proof that Revocation thrives in both traditional and modern workflows. Add drummer Ash Pearson’s precision and fire, and you’ve got a lineup that sounds tighter than ever.
Production duties were handled by Davidson himself, with mixing and mastering by the legendary Jens Bogren (The Haunted, Spiritbox). According to Dave, Jens nailed the band’s vision right out of the gate. “He just gets it—every time.”
A Visual Techno-Nightmare
Rounding out the package is another jaw-dropping piece of artwork by Paolo Girardi, who captured the essence of New Gods, New Masters with grotesque imagery of a new deity born of wires and teeth. True to form, Girardi layered in Easter eggs referencing Revocation’s earliest releases, tying 20 years of history into one terrifying, colorful canvas.
Davidson reflected on that sense of history during our chat: “It’s crazy to look back on Empire of the Obscene and see how far we’ve come. I’m proud we’ve never stagnated—we’ve evolved with every release. That’s what keeps this band alive.”
Looking Ahead
With New Gods, New Masters, Revocation have crafted not just another extreme metal album, but a stark reflection of our times—one that’s as much about riffs and brutality as it is about where humanity might be heading. And if you’re wondering about touring—yes, Australia is very much on Davidson’s radar.
Revocation stand 20 years in, battle-hardened, plugged in, and ready to confront whatever the next stage of the human experiment brings. One thing’s certain: New Gods, New Masters is the soundtrack to our techno-nightmare, and it absolutely rips.
Revocation Lineup:
- Dave Davidson: Vocals, Guitar
- Ash Pearson: Drums
- Harry Lannon: Rhythm Guitar
- Alex Weber: Bass
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