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VINDICATOR
Whispers Of Death

Self-released (2025)
Rating: 6/10

There was once a time (2005 onwards) when U.S. thrashers Vindicator, along with many others, were the new kids on the block, surging towards the crest of the new thrash wave. However, like so many of those other bands, for me anyway, the novelty wore off rather rapidly. It’s not to say that Vindicator decreased in quality, it’s just that the scene sort of levelled out. But credit to the Ohio-based clan for sticking to their guns.

Whispers Of Death is the fifth full-length from the crew and features the line-up of vocalist Marshall Law, lead guitarist Billy Zahn, rhythm guitarist Vic Stown, bassist Ed Stephens and newest recruit drummer Glen Monturi, who joined last year.

It’s been four long years since the rather underwhelming release of the band’s fourth opus, Communal Decay, so I was expecting a marked improvement this time round. Thankfully, this is a better record with some solid fret board action. Even so, Vindicator has, sadly, just become another card in the pack, at times resorting to generic outbursts. However, it’s not the fault of the band, thrash has been done to death and although I love the recent Void (Forbidden Morals) and Sadistic Force (Morbid Odyssey) outings, it’s still the familiar formulas which drive them.

Vindicator still boasts a snap in their sound, particularly the vocals, but it’s not a style I usually warm to due to their blackened blasting. Even so, they fit the Vindicator dynamic of an almost death-thrash tapestry of sound veering towards the malice of Demolition Hammer, especially with my favourite nugget ‘Thirst For Violence’. However, there’s an odd uneven nature about this album due to the shifts towards a punky hardcore vibe (‘Exhaustion’) and then a more Teutonic frenzy (‘Ripper Attack’ and ‘Merry Evenings Make Sad Mournings’) with elements of silliness via Tankard.

I’m at once compelled and repelled by the album even with its technical ability and nods to old school mania. To an extent I wish the band had stuck with the sound portrayed on the killer song ‘Charnal Pastures’, somewhat of a bruiser that shifts its focus on a heavy blackened thrash style. It’s a slightly bumpy ride then from the Midwestern mob that fails to restore my faith in the revival of the new millennium invasion of thrash bands.

Neil Arnold

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