Vindictiv: World Of Fear-2015.

Vindictiv:Power Metal from Sweden.


Ground ZeroFull-length2009
Cage of InfinityFull-length2013 
World of FearFull-length2015


Stefan LindholmGuitars (2004-?)
See also: Firecracker, ex-Endless Circle, ex-Leprechaun
Pontus LarssonKeyboards (2004-?)
See also: FirecrackerOdysseus, ex-Pork Barrel
Nalle PåhlssonBass (2005-?)
See also: The Experiment No.QTherionLuciferian Light Orchestra (live), Gathering of Kings, Groundbreaker, Hardcore Circus, Last Autumn’s Dream, Zan Clan, ex-Animal, ex-Ludor (live), ex-Chris Laney, ex-Treat
Marco MinnemannDrums (2015-?)
See also: AeonsgateIlusen’s FallacyMarco FerrignoPainstyleWaken EyesWitherfall, ex-Ephel Duath, Mike Keneally Band, Steven Wilson, The Aristocrats, Joe Satriani (live), ex-Nathan Frost, ex-Theodore Ziras, ex-Kreator (live), ex-Illogicist, ex-Necrophagist, ex-Silver
Mark BoalsVocals (2015-?)
See also: Byron Nemeth GroupDramaticaJoshua PerahiaLyrakaMark BoalsRing of FireSeven the HardwayShining Black, ex-Holy Force, ex-The Codex, Dio Disciples, Foundry, ex-Dokken, ex-Iron Mask, ex-Labÿrinth, ex-Royal Hunt, ex-Yngwie Malmsteen, ex-Adrian Galysh, ex-Billionaires Boys Club, ex-Genius, ex-Savoy Brown, ex-Ted Nugent, ex-Uli Jon Roth

One thought on “Vindictiv: World Of Fear-2015.

  1. Vindictiv’s fourth album sees the addition of veteran vocalist Mark Boals, replacing Marco Sandron (who had previously replaced Goran Edman). At 56, Boals still sounds remarkably like he did back in the ’80s–few singers have aged better. One would think that adding him to an lineup with top-flight guitarist Stefan Lindholm and keyboardist Pontus Larsson, as well as otherworldly drummer Marco Minnemann, would produce some stellar, or at least interesting, results.

    It doesn’t.

    Why? Because none of them seem to care. Lindholm has always been considerably over the top with his guitar work, but here it’s really gotten ridiculous. Every song has the same uninteresting scalar wankery proceed for mind-numbing amounts of time during the instrumental breaks. Larsson isn’t much more restrained, but at least his killer keyboard tone makes his lead turns the slightly less yawn-inducing in the endless tradeoffs. Boals, for his part, hits the notes he’s given, but sounds bored and tired throughout, failing to inject the songs with anything beyond the bare minimum of enthusiasm. It’s not as though the melodies he’s given are that great, but they’re not all that much worse than the ones Edman had on the first two Vindictiv albums, which were of much higher quality largely due to the departed vocalist’s energy and charisma.

    It’s a shame, because the album doesn’t lack for sections that show intrigue. Lindholm has a talent for writing really impressive intros that establish a hard-hitting power metal atmosphere as good as anyone. This often extends to the verses, where his riffing is restrained and effective. But no, playing at top speed for two minutes out of nowhere will not produce a good instrumental section, just as playing whole-note chords and giving Boals a humdrum melody (which he then proceeds to undersing) does not result in a chorus anywhere near powerful enough to provide the momentum to justify those ridiculous instrumental breaks. Neither does force-fitting a high note (also undersung) into the vocal melody right before the obligatory solos come in.

    In the middle of this album, there is a trilogy of songs that rise above the rest–“Clay,” “Day,” and the title track. They’re nothing special, but they’re listenable, which is more than can be said for the rest of the material here. The album is well-produced, and I should note that Minnemann is in good form (if far less showy than he is in other places). But this album is only for the most shredding-hungry of listeners. If you could stomach Sage’s Recital’s debut, chances are you’ll like this. Else, steer clear. Either way, the Edman era of this band is far superior to this passionless album.

    GOOFAM, October 12th, 2015


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