Musical Style: Doom Metal	Produced By: Nick Leonard
Record Label: Independent	Country Of Origin: USA
Year Released: 2021	Artist Website: Nick Leonard
Tracks: 15	Rating: 85%
Running Time: 1:06:35

Multi-instrumentalist Nick Leonard’s musical interpretation of the Book of Revelation, his aptly entitled March of 2021 independent fourth solo album Revelation, is refreshing.  It paints a picture of the doom-like found in toiling but relentless riffing, profuse low-end heaviness and lower-register vocals to touch upon the somber.  It also mirrors the Gothic with a dark and somber sound hinting of melancholic Saviour Machine aesthetics.  Either way it adds up to a portentously apocalyptic scenario in perfect step with the histrionic subject (and music) at hand!

Further details from the artist:

“Revelation is a concept album based on the Book of Revelation. The lyrics are all directly taken from the source and cover the prophetic vision in its entirety in chronological order. The music was written to the words, with the goal of expressing the content through the tone and character of the music. It's narrative-driven music that's familiar without fitting neatly into a particular mold or subgenre with lots of dynamic and tonal shifts. The music broadly falls into the melodic doom genre, with thrash, power, and black metal influences.”

Note that the Book of Revelation has been the focal point of conceptual releases several times previous.  Most recent occurred in 2011 when classic metal act Saint touched upon the topic with its critically acclaimed and every bit befittingly entitled full length offering The Revelation.  Saviour Machine also deserves credit for its ‘Legend Series’ - better known as the ‘unofficial soundtrack to the end of the world’ - to draw upon similar themes on highly regarded releases Legend I (1997), Legend II (1998) and Legend III: I (2001).  Point being I have a soft spot in my heart for concept albums with the Book of Revelation proving no exception!

Opener “A Crown Of Life” embodies quintessential doom: bleak and brooding as trudging guitars lead the way but interspersed with contrasting moody moments of a placid nature.  Artist unveils his earnest and sober mid-ranged vocal abilities.  Lyrics derive from Revelation 1:14-16:

His hair was white as snow
And His eyes like a flame of fire
His feet were like fine brass
His voice was the sound of many waters
In His right hand were seven stars
And out of His mouth came a two-edged sword
He was like the sun shining in its strength

Two shorter cuts follow in “Open The Scroll”, decisively upbeat with crisp rhythm guitars and ominously phrased refrain, and “Pale Horse”, interspersing between hauntingly austere moments and those to touch upon a more forward nature.

Back to a hulking direction with “Seven Trumpets”, six minutes of remorseless doom to speak of the slogging as demolishing guitars and crushing momentum combine for a deliberate statement.  Distant hints of melody arise to separate from the stringent scene.  Revelation 8 and 9 is the subject at hand:

The first trumpet sounded, hail and fire followed
Mingled with blood, they were thrown to the earth
A great mountain burning with fire is thrown into the sea
Smoke and fire, hail and brimstone

He opened the pit and smoke arose
Like a great furnace the sun and air were dark with smoke
Out of the smoke came locusts upon the earth
On their heads were crowns of gold and their faces like men

“The Smoke Of The Incense”, a minute and half of narration from Revelation 8:1-4 over gentle guitars, gives way to “Seven Thunders”.  What we have is one of albums most powerful, pulsating with its distorted bass as larger than life drums and drubbing fortitude leads the trenchant way.

Revelation hits its stride beginning with “The Accuser”, albums fastest with an unrelenting proclivity to feature abundant double kick drum and enlivening guitars to touch upon power metal, and “A Mark On The Right Hand”, dissimilar in doom-like form as trampling momentum holds sway interspersed with periodic outbursts of angst and albums best blinding lead guitar.

Longest cut follows in nine-minute progressive epic “The Bowls Of Wrath”.  It proves dramatic in capacity, tempered guitar wise compared to many cuts here - this is where that Saviour Machine comparison comes into play - but also exuding ample melody to allow repeat play.  Moments range from doom-ish drudging (again noting artists somber vocals) to others revealing a more elevated feel (to see added double kick drum hold sway).  As its title implies, song bases around Revelation 16:   

So the first poured out his bowl
And a foul and loathsome sore came upon them
Upon the men who had the mark of the beast
And who worshiped his image

Then the second poured out his bowl on the sea
It became like the blood of a dead man
Then the third angel poured his bowl on the
Rivers and springs – which became blood 

“Babylon The Great” starts in mournful fashion prior to gradually building force as guitars kick in, with the raised up momentum upheld the remaining distance to hasty riffs and breakneck drumming.  A return to a doom direction manifests the final seconds.  Song draws upon Revelation 17:

I saw a woman sitting on a scarlet beast
Full of names of blasphemy
With seven heads and ten horns
She was arrayed in purple and scarlet
And adorned with gold and precious stones
Having in her hand a golden cup
Full of abominations
And the filth of her fornication

Subsequent cut “A Prison For Every Foul Spirit”, two and a half minutes of acoustic guitar and narration from Revelation 18, transitions to “Logos”, a commanding cut lumbering its span to chugging riffs with a thrash feel as a portent landscape paints the backdrop.

Three minutes of brooding low-end enhanced energy, “The Flesh Of Kings” resonates of the unfathomably no-nonsense.  Likewise, follow up cut “Keep The Prophecy” in yielding distorted guitars and periodic quieter moments as artist unveils a softer vocal approach to a song basing upon Revelation 20:

Now when the thousand years have expired
Satan will be released from his cage
To deceive the nations in the four corners of the earth

Gog and Magog, to gather then together for battle
Whose number is the sands of the sea

The went up on the breadth of the earth
And surrounded the camp of the saints and the beloved city
And fire came down from God out of heaven and devoured them

Two minute “The Time Is At Hand” fittingly closes things out to stilly done guitars over rolling drums to speak of the nonchalant.

Coming in at 15 cuts and over an hour of music, Revelation is a lot to digest but in a positive sense in light of the extensive topic in question.  For example, it can be a challenge covering a topic so far reaching within context of a single album, noting how it might not be possible to cover every nuance and detail (noting the exclusion of the message to the seven churches).  That said, to the artists credit Revelation proves not only ambitious but also very finely done from a musicianship, production and lyrical standpoint in capturing the detailed semblance to the topic.  Of course, the doom metal laced with Gothic tinctured sounds proves the perfect vehicle to communicate such apocalyptic themes!  As a connoisseur of concept albums, I give correspondingly give Revelation a strong recommendation.  Currently available as a download, lets hope a label picks it up for an official CD release.

Review by Andrew Rockwell

Track Listing: “A Crown Of Life” (3:58), “Open The Scroll” (2:51), “A Pale Horse” (2:30), “Seven Trumpets” (6:18), “The Smoke Of The Incense” (1:41), “Seven Thunders” (4:15), “The Accuser” (4:25), “A Mark On The Right Hand” (5:09), “The Bowls Of Wrath” (8:48), “Babylon The Great” (4:48), “A Prison For Every Foul Spirit” (2:27), “Logos” (3:57), “The Flesh Of Kings” (2:47), “Keep The Prophecy” (4:17), “The Time Is At Hand” (1:58)

Musicians
Nick Leonard - Lead Vocals, Guitars, Bass & Drums