A Godforsaken Phil Collins Cover Band: Revocation Wrecks Darkened Musical Havok at Sold-Out Brick by Brick in San Diego
March 25th, 2023
Revocation
With the 2023 calendar just rolling by ever so swiftly, it feels long ago that Revocation headlined here at the Brick by Brick in San Diego, fresh off their stunning new record, Netherheaven. Continuing on the bleak, crippling heaviness, and progressive growth in the music from The Outer Ones, Netherheaven takes the listener to an abandoned, gothic Victorian church, with the stunning riffage as prolific and swift as ever, but adding a harkened sense of soul-crushing, low-end notes of gloom. It’s been fantastic to see this side of Revocation, and as main support for Morbid Angel on this tour, the only thing I see in the charts: Profits up!
Not only taking place in the PA during their soundcheck, but with Dave Davidson asking the soundboard to continue the Phil Collins-only songs, and playing various riffs from his catalogue while checking the guitar tone, was a hilarious surprise, and had much of this sold-out music house in humourous, engaging spirits. It took me a second to realize they weren’t headlining, as from their previous show here in September of last year, the use of the lasers/special lights were a joyous gaze to witness. The pictures were easier to get this way, I’ll admit, but it wasn’t a negative, for it still didn’t feel like a standard main support set. Revocation gave as much energy as if they were the headliners, with the audience raging in moshing approval throughout. A thunderous wave of headbanging during the bridge riff 1:49 into “Diabolical Majesty”, the triplet-downpicking chug factory, sprinkling in the leads at the end of each riff. The masterful darkened tone of the music, simply shines in Netherheaven, hoping for the band’s next appearance, the entire record could be performed live, as they did with The Outer Ones back in 2019.
One aspect I did notice this time around, Ash Pearson’s overall drum production, was insanely heavy. Frankly, the most I’ve heard with this intensive, destructive force. His cymbal crashes, alongside his frantic, and yet cleanly played fills between solo breaks, sounded bombastically gorgeous, like driving a cannon ball through an antique glass shop. It was an enormous plus to not only hear Ash’s stellar technique, but to hear it sound as delightfully crushing as it did sonically, another special arrow in the holster and artillery, of Revocation. Noah Young, joining the band as a live guitarist from last year, more than holding his own performing the demanding stringed instrument responsibilities, the band is known for. Also, growling and screaming back-up vocals while playing at this devilish of a pace, Young into the lineup and live show, has been a seamless fit, and looking forward to hearing his own style to the solos in the near future.
It’s certainly the sonic spectacle to see Dave play such an exquisite level of guitar-playing, capsulated with the demented, bizarre tempo changes accompanying the riffs, and still fluid as a noiseless, running river. The solo in “Of Unworldly Origin” can be sung, hummed, and professionally air-guitar played, note-for-note. The crisp sounding notes, minor key changes, stunning melody that stops on a dime, with a charcuterie plate of tasteful flavour, colourful dynamics, and a wicked amount of musical, powerful pressing passages. I’m honoured each time I can watch Dave Davidson perform and play guitar. Although Brent Bamberger’s Bass tone could have been louder in the mix, his aggressive windmills, headbanging, and rocking presence on-stage, more than made up for it.
With Netherheaven storming the music world, and after another stunning live performance, Revocation continues to soar in the Death Metal scene, reminding the world how incredibly exciting the opportunity is to watch them live. Here’s hoping to Netherheaven played in its entirety, sprinkled with some Phil Collins tunes, like no other.
1. Godforsaken
2. Diabolical Majesty
3. The Outer Ones
4. Communion
5. Re-Crucified
6. Madness Opus
7. Of Unworldly Origin
