Despite the fact that the general sonorous layout of the album has a somewhat predictable structure and a very conventional musical diagram, Revenant reveals itself to be a very good and interesting album all the way through, if you relieve its limitations. Merging in a creatively pure and precise intensity its more rude, crude and aggressive type of black metal with symphonic elements, that brilliantly converge to a dry axis of accumulative sonorous volatility the exasperations of a primitive appeal whose energy expands to a universe of melodic brutality, the group reveals the presence of a style that ostensibly levitates towards the genuine darkness of its own origin.
Unfortunately, Revenant is a record filled with minor deficiencies. Although nothing that compromises the sobriety and consistency of the music, it deserves to be mentioned. With an abundant concentration of derisively uniform harmonies, that sounds repetitive and redundant at certain passages, the album follows too closely the path of ordinary black metal, which is a little sad, since the band has demonstrated throughout the most creative passages of this album an inextricable ability to merge different scopes of the genre, tying them altogether in a crucial, critical and artistic layer of imponderable and furious grace, without any dogmatisms.
Don’t get me wrong: generally speaking, Revenant is a very good album, with potential to enormously please its audience, in a very deep level. On the other hand, you can’t expect a thoroughly marvelous or profoundly amazing work, since, for the greater part, the album follows formulaic patterns of creativity on its general sensibilities, and a pervasively strict sense of commonalities, that eventually exposes the record to a degree of boredom and predictability that exasperates the listener a little.