Whipstriker | Cry Of Extinction | Hells Headbangers

After seven years without a full-length assault, Brazil’s underground juggernaut Whipstriker storms back with "Cry Of Extinction" through Hells Headbangers. Known for their prolific output in the form of splits and raw underground demos, this fifth album marks a more refined—though still firmly feral—iteration of Whipstriker’s speed-driven, blackened heavy metal vision.

"Cry Of Extinction" is faithful to the core of Whipstriker’s sound. It’s still Motorcharged metalpunk in spirit, draped in the battle jackets of "Welcome To Hell" and "Obsessed By Cruelty". Riffs buzz like crude machinery, the bass growls low and loud, and the vocals from Whipstriker himself—mainman and namesake—remain a throaty bark soaked in barbed wire.

But here’s where the objectivity kicks in: this is not a radical reinvention. Nor is it trying to be. While "Cry Of Extinction" introduces more structure, melody, and even a tinge of traditional heavy metal poise—especially in the slower, more atmospheric passages—these elements don’t significantly elevate the songwriting beyond what’s already been laid down in their earlier albums like "Crude Rock ‘N’ Roll" (2011) or "Merciless Artillery" (2018).

The Destruction cover, "Satan’s Vengeance", featuring Daniel Avenger (Nocturnal, Front Beast), is a fitting homage, though it doesn’t stretch far beyond imitation. It fits well in tone but doesn't necessarily enhance the narrative or creative arc of the album.

Where "Cry Of Extinction" does push forward is in production quality. It’s slightly warmer, a bit more open in the midrange, and balances rawness with clarity better than some previous records. The closing track, "Military Scum", running around ten minutes, attempts an epic conclusion and shows the band’s willingness to flirt with larger compositional ideas. However, the execution—while competent—feels a touch overlong and lacks the punch needed to truly justify its length.

"Cry Of Extinction" is a solid entry in the Whipstriker catalog, a loyal disciple of first-wave black/speed metal aesthetics. It's fast, loud, and raw, as it should be. But while it shows some growth in dynamics and scope, it doesn’t push hard enough to break new ground. Longtime fans will find plenty to enjoy, while newcomers may find it a touch too genre-locked for broader appeal.

This is underground metal done with conviction—but the same conviction limits it from reaching beyond the already converted.

Score: 6.5/10