Revelation’s Hammer are a black metal band from Norway. New on the scene but not unconnected with a member from Nidingr and a guest musician from Troll, this album suggests they have taken on a more modern path in the genre and concentrated on melodic firepower rather than pure creepiness without losing respect for their roots. There’s plenty of hatred and rising violence here. I hear something of Watain in this self-titled album.
I like the fact that the album comprises six long chunks in which to develop themes of evil and catastrophe. The first track “Obsessed Onslaught” is bold. It is epic and has good development. At the start the vocals sit underneath the furious instrumentals as if they are detached. That wasn’t so good, but the sound balance eventually finds its level. Or was the understated vocal line deliberate? Swirling and turbulent as this is, there was almost too much going on to be really nasty. It’s a bit like a theoretical exercise in demonstrating techniques. When it’s lively and flowing, it’s very good. There’s a passage with a clinical description of schizophrenia and its symptoms. This spoken section interrupts the warfare, there are samples, dark croakings and manic shouting from the background. It’s certainly interesting. The title track which follows sets off like a train and has a raw quality. Towards the end, a desperate-sounding lady speaks. It’s disturbing and one of a number of quirky moments which make Revelation’s Hammer a rival for Carpathian Forest in the eccentricity department. “Avsgudsdyrkelse” has two such moments. In amongst the hammering the vocalist clears his throat unpleasantly. Another hate-filled march commences. This track is as black as hell but it’s the woman groaning at the end who has the climax. But for me the most ridiculous moment occurred on “Buried as Filth”. After the sound of an aeroplane and a crash, the vocalist screams “1945 ….. AAAAARGHH”. I had to laugh. But such moments apart, let’s not forget that this album is a consummate piece of black metal, which after almost experimental beginnings, grows into its stride. “Buried as Filth” is like a melodic black metal story being told, progressing in intensity and fury. “Den Blåøyde” again contains pumping black metal rhythms, going impressively through its apocalyptic motions before slowing down. The appropriately-titled final track “The Crown of Malice” is fast, furious and imperious. Again this one slows down to a near crawl, before picking up again. “Now you’re dead” shouts the vocalist out of nowhere, followed by a drum volley and guitar riff suggesting we’re under attack. The constant change of tempo is both interesting and unsettling, as if the men from Revelation’s Hammer are sneering at us. As the track seems to fade away, it picks up funereally, providing a fitting end.
Each track on this album has character. Developing into pure nastiness, all the common black values are there to go with the moments of eccentricity. This is a modern face of fiery Norwegian black metal, and very entertaining it is too.
(7.5/10 Andrew Doherty)
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