The new Revenge shows more structure than before but it is a structure cut from the blockiest of slabs. The bandwidth of Revenge‘s excursions over the musical scale will always be limited because of the nature of their genre but Behold.Total.Rejection, while operating within that space, shows a greater willingness to explore the relatively featureless topography available to it. While granting that Revenge are one of the modern progenitors of this niche of extreme music and so deserve to be discussed with a modicum of acknowledgment, if not approval, their music still remains subject to many of the criticisms leveled against war metal.
Revenge‘s songwriting, melodicity, and technique, as it is, is more punk than metal, only dressed up in extreme speed and percussion. Breakdowns and distinctly bouncy sections are routinely found on this album, punctuating what is otherwise a standard blend of grindcore and non-consonant early Finnish black metal. Chaotic lead guitar breaks with zero pretense to structure insinuate themselves into pieces for no apparent reason other than creating an impression of imminent breakdown; the tangible takeaway from this album is indeed a band that seems genuinely disenchanted with pursuing more conventional forms and instead intends its music to act as a virus of the moment, infiltrating senses that have already been brought to a cusp in anticipation by various factors, and not always music-related.
There is value in transitory purging and to that end, Revenge achieve their goal. But what after that? This is an unambitious and unmemorable approach to music-making; yes, it is extreme and self-fulfilling of any personality-vindicating expectations its audience may have of the band and of themselves, but what is left once the initial glamour wears off?