Released on September 27, 2025, Revocation’s eighth studio album — New Gods, New Masters — isn’t just a showcase of technical prowess. It’s a ferocious, focused evolution that reasserts their place at the top of progressive death metal.
Where 2022’s Netherheaven leaned heavily into blackened aggression, New Gods, New Masters sharpens the blade. The riffs are tighter, the compositions more surgical, and the lyrical themes dig deeper into the philosophical and existential, without sacrificing the head-snapping energy that fans expect.
A New Apex: Precision, Power, and Purpose
While earlier albums thrived on chaotic bursts of speed and dizzying complexity, New Gods, New Masters feels more deliberate. That doesn’t mean it’s less intense — in fact, it might be their most punishing release yet — but there’s a newfound sense of restraint and shape to the chaos. The band lets riffs breathe, tempos shift naturally, and solos serve the songs rather than dominate them.
David Davidson’s guitar work remains the centerpiece — intricate, brutal, yet melodically engaging. But it’s the cohesion of the entire band that stands out. Ash Pearson’s drumming is both explosive and tightly controlled, while Alex Weber’s bass provides a thick, articulate low end that grounds even the most frantic passages.
Standout Tracks and the Album’s Pulse
Opening with the title track, New Gods, New Masters lays down a mission statement: relentless, riff-driven modern death metal that balances technical flair with real emotional weight. “The All Seeing” introduces a slower, more atmospheric edge that expands the band’s dynamic range without losing intensity.
“Cronenberged” (featuring Jonny Davy of Job for a Cowboy) delivers one of the album’s most savage moments — a masterclass in groove and grind. “Buried Epoch,” the closing track featuring Luc Lemay of Gorguts, leans into eerie, avant-garde territory, drawing the curtain with a slow-burn sense of dread that lingers long after the final note.
Meanwhile, “Confines of Infinity” and “Scourge Protocol” represent peak Revocation — blistering, intricate, and catchy in ways that defy their complexity.
Band Synergy and Artistic Direction
Vocally, Davidson sounds more commanding than ever. There’s a refinement in his harsh delivery — less processed, more raw, more human. The lyrics wrestle with themes of digital transcendence, myth-making in modern society, and what it means to exist in a world shaped by unseen systems of control.
Sonically, the album is mixed with clarity and bite. Producer Zeuss ensures that every detail shines through — from tremolo-picked flurries to layered harmonies and ambient touches. The production feels modern but not sterile, allowing space for each instrument to speak without overwhelming the listener.
Final Verdict: 9 / 10
New Gods, New Masters doesn’t aim to reinvent Revocation’s sound — it refines it. This is a band that has matured without mellowing, grown more articulate without losing aggression, and embraced evolution without abandoning what made them vital in the first place.
It’s their most cohesive, most confident work to date — an album that respects its roots but looks unflinchingly forward. Whether you're a longtime follower or a curious newcomer, this is a record that delivers brutality with brains — and proves Revocation aren’t just masters of their craft… they’re still ascending.
