I already proclaimed 2026 the year of thrash and this is the next evidence supporting my argument. I will not mention the dozen (at least) quality releases by genre veterans released so far this year, but the return of New Jersey legends Whiplash follows the similar “resurrection after a long absence” in recent years from Razor, Sacrifice, Forbidden, Coroner and Nasty Savage.
Guitarist and vocalist Tony Portaro is the only remaining original member in Whiplash since Tony Scaglione’s last appearance in the line-up ten years ago and the fresh blood he has injected in the band are bassist Will Winton and drummer Mitch Hull. The new album ROAR was initially supposed to be self-released in the spring, under the title Thrashquake and a different cover artwork but only a few promo copies were distributed during the band’s European shows in March.
Now, we have an updated artwork (Repka’s creation, like the first one) and title, but the songs are the same as the originally intended and best of all – the helping hand of a record label to boost distribution. I’ve been waiting patiently (or not so much) for Whiplash’s first studio album since 2009 ever since the single Sword Meet Skull, Skull Meet Sword was released 13 (!) years ago and finally, it will be here in a few days. Opener Thrashquake is pure classic Whiplash, sounding very old school, raw and angry, with a fantastic solo by Portaro. This is definitely way better than the teethless Unborn Again album, and the following speed hymns Bullet Train and Can’t Take Back A Bullet keep the good impression with simple structure but a hungry attitude and memorable riffs.
Sword Meet Skull and When The Deadman Calls are a bit sub-par, uninspired and bring back the disappointment from the aforementioned Unborn Again album, while Who Stole My Whiskey is also as cringe-inducing as the title suggests.
However, the furious Red Tape Riot saves the day at just the right moment, being the closest possible Whiplash can sound in 2026 to classics like Power And Pain and Ticket To Mayhem – really good stuff. Even though the album is self produced by Portaro, the mix and mastering is by Jamie King and the end result is a raw, but very old school and warm sound which does these song a lot of justice. Mothers Kill Club does little to impress, unlike the following speed thrash classic Sonic Asylum, offering some of Portaro’s best, trademark riffs and one more absolutely frenetic solo.
Graveyard Of Good And Evil is an instrumental track with some really nice ideas, closing the album in a great way, proving that Tony Portaro still has plenty of fire and inspiration within him. ROAR is a mixed bag of an album but it contains at least 4 songs that could be worthy of inclusion in a setlist of untouchable classics. It is a much better album than the last one and I really hope we won’t have to wait so long for the next one.
7,5/10
ROAR is out on November 27th and can be ordered from HERE
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