Revocation

On Revocation's third full-length there are a few times where absolute brilliance slowly veers towards Sum 41 cheesiness ― too much enthusiasm to replicate a musical genre by a young band could be a potential turn-off. But unlike the Canucks, what could be mistaken for a desperate attempt at authenticity is quickly and easily dismissed. On tracks like "Harlot," which features a slap-happy bass funk interlude that would make Bootsy Collins proud, then deftly merges into a NWBHM melodic twin-guitar attack, it is evident that the trio's specialty is delicately merging the best elements of thrash, progressive tech, jazz and hardcore then adding a dash of originality without turning Chaos of Forms into an overwrought mess. "Conjuring the Cataclysm" starts off promising, a slight departure from the frenetic pace of the rest of the album, but also serves as a signifier that despite the band's incredible talent (check out "Chaos of Forms" and "The Watchers"), they still need to work on their vocals. But with music this good, one can quickly forgive and forget.