Technical thrash/death powerhouse Revocation has just released their 6th full length entitled Great Is Our Sin continuing their fast working pace in natural manner. Band’s leader David Davidson (guitars, vocals) has provided the answers straight from the tour, which is natural habitat for this band as it seems. Read on and enjoy!
Greetings Revocation, welcome to the pages of Metal Sound! How are you guys been doing these days?
We’ve been doing very well thanks for asking!
First of all, I would like to congratulate you on your new album Great Is Our Sin – in my opinion you have one more great release on your hands! How are you guys feeling about the album now that everything is said and done?
We’re really stoked on it and we all feel it’s our best release to date. Now that it has been officially out for a few days we’ve been seeing a lot of fan reaction and reviews that have been extremely positive so it’s nice to see that everyone is embracing the new material.
Revocation is working fast as a shark, six albums in eight years is no small feat considering that you still keep the quality level high. Was Great Is Our Sin written on the road, how did that come about?
I don’t do a ton of writing on the road, mainly it’s written when I’m home in my downtime. There were a few parts that were written while we were on tour though. I specifically remember writing the verse riff for “Communion” when we were sound checking on stage in Hungary right when “Deathless” first came out. Ash and I were trying to get my levels so I started improvising this fast riff and Ash started playing a thrash beat underneath it. Dan looked at me and was like, “make sure you remember that one!” Sometimes being in new surroundings can be very inspiring and new ideas just pop up in that environment.
In my opinion you guys have your own style but you always put some new flavors to keep thing interesting. The new album has enhanced death metal influence, like Arbiters of the Apocalypse with that sweet Nile like melodies or Only the Spineless Survive with a lot of Morbid Angel overtones. Please elaborate on this…
Yeah I’m glad you can hear those influences, I think you hit the nail on the head with those specific sections. Our death metal influences are very much at the forefront of our sound now which is cool because it’s such a broad genre so that gives us a lot of room to experiment. That being said there is still a thrash influence as well, specifically on certain sections like the verse riff in “Communion” or the bridge/solo section of “Profanum Vulgus”
You have new drummer Ash Pearson in your ranks. Please tell us how is your cooperation working until now and what has he brought into the fold?
Ash is working out great, he’s an excellent drummer and a cool dude to hang with. Ash has a unique style because he grew up listening to a lot of Rush and Frank Zappa as well as metal. I think he brings some of those other influences into our sound to add a new dimension to our music and you can hear his fusion influence on some of the drum parts and fills throughout the record. That being said he can still blast and thrash with the best of them which is very important because we wanted to still maintain the core of our sound.
You have chosen Slayer cover to close the album this time around, was this a hard choice considering that Slayer has been covered by tons of bands around? How did you chose the track? Do you consider Reign in Blood to be the ultimate Slayer release?
We’ve wanted to cover Slayer for a while and we all bounced some different songs off of each other for a few days until we finally settled on “Altar Of Sacrifice” Personally, I think “Reign In Blood” is the quintessential Slayer album so I was glad we chose something from that album and were able to pay our respects to Jeff Hanneman.
One more legend was there to help you out, Marty Friedman did solo on The Exaltation so please tell us how did that cooperation come about?
We had collaborated together on his record “Inferno” and I had a blast co-writing a song with him so there was already a connection there. When it came time to write solos for our new record I reached out to him and he said he was down to lay down a lead on one of our songs. I knew just the section that I wanted him to play over so I sent him a rough track along with the time in and out as well as the key changes of that section for a frame of reference. I remember him sending over the finished solo when I was in the studio with Zeuss, we were instantly stoked on it and probably replayed it 5 times in a row just to soak it all in. It’s was a really cool and surreal experience to hear one of my idols soloing on a song that I had written.
Revocation has been busting ass on the road for years now. Do you think that it is a key for band’s success nowadays and what did you have to lose in your private lives to achieve all of this?
Yeah touring is essential if you want to have any hope of making it in this business. I think there’s no substitution for seeing a band live, that’s the best way to convert people and maintain your fan base. You have to give up a lot to lead this lifestyle, there’s very little stability, no retirement plan and it can of course to a big toll on relationships over the years.
As I know you are part of Summer Slaughter tour in America and you will be in Europe this fall supporting Obscura. Are some more tours prepared, perhaps headliner ones?
Yeah we’re planning on hitting the road hard for this release, currently our plan is to do a headline run when we get back from Europe and then in February of next year we’ll be performing on the 70,000 tons of metal cruise.
You are about to unleash video for Arbiters of the Apocalypse very soon so what can you tell us about it?
We filmed that video with David Brodsky and his team in Pennsylvania. Dave’s a rad dude and has filmed every music video that we’ve done so far so we already have a great rapport with him which is comforting. We wanted to do a performance video with a twist so Brodsky set up this massive wall of lights and programmed them out so each member had their own color scheme. It was the first time that we used lights like that in a music video and I think it created some really energetic visuals to go along with our performance.
Was John Baizley responsible for Great Is Our Sin cover? Do you think that his work become a bit predictable with themes recently?
Tom Strom actually did the new album art, although I am a big fan of Baizley’s work as well. I think both John and Tom have their own styles that have developed over the years. I think it’s cool when an artist has a recognizable style, whether you’re a musician or an artist the most important thing you can strive for in your work is to find your own voice and I think both artists have found and maintained their own unique styles.
I think that technical metal is making quite a big waves recently, from old timers like Gorguts to new bands like Vektor who have done one of the best thrash albums in the last two decades with Terminal Redux and you guys. What do you think about this situation?
I think it’s great! People are hungry for music that’s outside the box so it’s really cool to see both older and newer bands continuing to push the boundaries of the genre.
Do you think that Revocation can get any bigger than you are now, would it take some musical changes to achieve that in your opinion?
I think we still have room to grow for sure. We’ll won’t be packing stadiums anytime soon because we play such an extreme form of metal but I’m hoping this new record will help to expand our fan base worldwide.
That would be all for this time, I would like to thank you for this chat and wish you all the best! Your last message to fans over here…
Thanks for the support, pick up our new album “Great Is Our Sin” and see you on tour!
- Questions by Slobodan Trifunovic
- Answers by David Davidson