Revocation’s hype stateside has failed to translate into a particularly big splash either side of the Atlantic. Their confusing mix of thrash/death and guitar god faux-eclecticism may go some way to explaining this. Broken into its constituent parts it’s very convincing indeed, and perhaps this is why Cosmo Lee mistook them for “the next great metal band” – they may well be at some point, but they ain’t there yet.

There’s some riffery to die for here driving some brutal thrash that will turn the head of even the most sceptical. But from beneath the maelstrom seeps a latent melody that sets them apart from the Death pack, although it’s often flattened by unsubtle sub-death vocals – competent, but perhaps the least impressive part of Revocation’s armoury.

Then there’s the godlike guitar virtuosity from new kid on the block David Davidson who any point he sounds like Satriani, Petrucci, Vai, Bettencourt (yes, you heard me right) among others, each with their respective stylistic ensemble. This is lovely, it really is. However, on too many occasions these virtuoso passages are clumsily tacked on the end of, or shoved into the middle of songs that they have no right to be in. Occasionally this works, but for the most part it just makes you think “That’s really cool, but why did you put it there?” This is not a merging of styles, it’s different songs being clumsily selotaped together, and it’s just a distraction from the main event – state of the art metal.

I commend Revocation’s efforts to do something different, however it just doesn’t hold together. Davidson needs to go exorcise his frustrated guitar god and make a solo album, then concentrate on making Revocation the great band they could be.

Chuck Schuldiner may have triggered the Death Metal genre with his band Death, but he took it in new, uncharted directions with the album The Sound Of Perseverance. This progressive metal masterwork almost never happened (Schuldiner intended to release an album with his new project Control Denied after disbanding Death in 1996, but instead opted for a further release via his original band), and is still underrated against a stellar back catalogue of work.

Frantic and complex riffs and frequent time changes compliment a change to his tried and tested vocal style into a Black Metal snarl.  Standout track Spirit Crusher lurches and stutters between frenetic thrash, melodic death and angular prog. The complex instrumental midsection contains some prodigious guitar solos and the whole song is underpinned by some of the best drumming you’ll hear provided by Richard Christy.

In the end, this album proved to be Schuldiner and consequently Death‘s swansong.  RIP Chuck, you are missed.