REVELATION - NEVER COMES SILENCE - SHADOW KINGDOM
Revelation is one of those doom metal bands that unusually merely grazed the periphery of my metal consciousness, but never became a listening item at Metallian Towers. Now courtesy of the resuscitating Shadow Kingdom Records Revelation’s record is on CD and out with bonus material like a live show and biographical material.
Revelation’s problem is that doom has much better in its midst. Candlemass, Solitude Aeternus, Saint Vitus (which the band is most like in this list) and Paramaecium are all better bands. This 1992 record suffers from a lacklustre and tired singer who exudes little energy and is lax in his delivery. The guitarist can play and rip should he choose to, but rarely does. His solo on Spectre is a rare instance of excitement. Wounds Which Never Heal right after goes back to the band’s staid approach. The looooooong album closer Never Comes Silence (so they do have clever titles!) begins with an acoustic strum straight out of a Rush 1980 composition, but soon reverts to below average doom.
Revelation disappoints with its lack of power or excitement and in a sub-genre predicated on feelings it is a below standard record. - Ali “The Metallian”
REVELATION - FOR THE SAKE OF NO ONE - SHADOW KINGDOM
Saint Vitus Was A Young Lad
No One Knows How Old
If He’d Known The Shite He Influenced
He Would Have Killed Himself Cold. - Ali “The Metallian”
REVELATION - ...YET SO FAR - SHADOW KINGDOM
This must be Revelation’s best record; not because it is anything special, but because the band has a couple of powerful and emotive riffs, a little heaviness, two enjoyable passages and, likely, that Dennis Cornelius, unlike his predecessor, does not drive everything to crap. There are moments of heaviness and interest on this album now Re-issued by Shadow Kingdom.
A better sound and a photograph of what looks like is the ruins of a Scottish castle on a moor also do not hurt. - Ali “The Metallian”