Iommi - From the Dark (2026)
With From the Dark, Tony Iommi returns with his first full-length solo studio album in more than twenty years, following 2005's Fused. Accompanied by Jørn Lande on vocals, Becky Baldwin on bass and Karl Brazil on drums, he delivers eight compositions firmly rooted in traditional heavy metal, with occasional doom influences and orchestral arrangements. It's an enjoyable return, particularly because Iommi's guitar playing remains immediately recognisable, although I find the album rather conventional and ultimately somewhat disappointing.
What I appreciate most is the weight and personality of Iommi's guitar riffs. Few guitarists have developed such a distinctive musical language, and his ability to create heaviness through relatively simple melodic and rhythmic structures remains remarkable. The combination of down-tuned guitars, darker harmonies and deliberate pacing is particularly effective. Unfortunately, I don't always feel that the compositions built around these riffs are equally convincing.
"Over the Violent Sun" opens the album with a powerful guitar riff and a relatively direct heavy metal arrangement. I appreciate the energy and the immediately recognisable guitar sound, but I find the songwriting rather predictable. Jørn Lande's vocals are technically impressive, although his dramatic delivery occasionally feels excessive, particularly when the music moves towards more conventional melodic metal. It's an effective opening, but one that doesn't introduce anything particularly surprising.
"Black Times" continues in a similarly heavy direction, with prominent guitars and a darker atmosphere. I appreciate the rhythmic foundation and the occasional slower passages, which allow Iommi's riffs to develop more naturally. However, the composition relies heavily on familiar musical structures, and I don't find the chorus particularly memorable. The musicianship is convincing, but the songwriting feels relatively uninspired.
"World Alone" introduces a faster and more energetic approach, recalling the more accessible side of Black Sabbath's Ronnie James Dio period. I appreciate the interaction between the guitars and rhythm section, particularly during the instrumental passages. However, the melody is rather conventional, and the composition feels too dependent on an established heavy metal formula. The guitar solo is enjoyable, but not enough to give the song a particularly distinctive identity.
"Beyond the Dead" is one of the more interesting tracks on the album. The slower guitar riffs and darker atmosphere suit Iommi particularly well, while the orchestral arrangements introduce a more expansive character. I appreciate the sense of weight and the contrast between the restrained passages and the heavier instrumental developments. Nevertheless, the arrangement occasionally becomes overly dramatic, and I would have preferred a little more restraint. The atmosphere is convincing, but the composition doesn't fully exploit its potential.
"Stormwatcher" continues with a relatively epic approach, combining heavy guitars, melodic vocals and elaborate arrangements. I appreciate some of the instrumental passages, although the composition becomes rather theatrical. Lande's vocals occasionally dominate the music, and I find the chorus particularly predictable. There are some enjoyable riffs, but relatively few musical ideas that remain memorable once the song has finished.
"Death Wake" is interesting mainly because of Brian May's guitar contribution. The combination of two legendary guitarists is appealing, and I appreciate the opportunity to hear their different musical personalities within the same composition. However, the song itself doesn't offer much beyond its instrumental attractions. The structure is relatively conventional, and the collaboration feels more interesting in principle than particularly exciting in its execution.
"Return of the Arbalist" brings back a faster and more aggressive character. I appreciate the direct approach and the relatively concise structure, although the guitar riffs feel rather familiar. The song has energy, but I find the melodic material fairly unremarkable. It's another example of how the album can sound impressive without necessarily offering particularly interesting songwriting.
"Legacy" is my favourite track on the album. At just over seven minutes, it's also the longest composition, allowing Iommi to explore a darker and more atmospheric direction. I particularly appreciate the slower riffs, which create a convincing sense of heaviness without relying on constant rhythmic intensity. The more expansive instrumental passages give the music enough room to develop, while the vocals become slightly more restrained.
The composition also has a stronger sense of progression than most of the preceding tracks. The contrast between the darker introductory passages and the heavier developments works particularly well, and I appreciate the way the guitar remains the central element. However, even here, some sections feel unnecessarily extended, and the overall musical vocabulary remains very familiar. It's the album's strongest moment, but not necessarily a composition that stands alongside Iommi's best work.
My main problem is the lack of genuinely memorable songwriting. Iommi remains an extraordinary guitarist, but the individual compositions rarely develop beyond familiar heavy metal structures. There are plenty of powerful riffs, yet relatively few interesting melodies, unexpected transitions or distinctive instrumental developments. I often find myself appreciating the guitar sound without becoming particularly interested in the songs themselves.
The vocals are another significant limitation. Jørn Lande has a powerful voice, and his dramatic style certainly suits traditional heavy metal. However, I find his delivery rather excessive throughout much of the album. The frequent emphasis on powerful choruses and theatrical expression occasionally makes the music feel more conventional than the darker guitar arrangements would suggest.
I also have mixed feelings about the production. The instruments are clear, the guitar sound is suitably heavy, and the rhythm section has considerable power. Nevertheless, the overall presentation feels slightly too polished. I would have appreciated a rougher and more organic atmosphere, particularly during the slower compositions where the guitar riffs could have benefited from a less controlled sound.
The orchestral elements don't always help either. I appreciate the ambition of introducing additional instrumental textures, but they occasionally reinforce the theatrical character rather than adding genuine depth. Some passages would probably have been more effective with fewer elements and a stronger emphasis on the interaction between guitars, bass and drums.
The musical identity is also frustratingly familiar. I understand that Iommi has little reason to abandon the style he helped invent, but I would have appreciated a few more unexpected ideas. Much of the album sounds like a competent continuation of his established musical vocabulary rather than a particularly inspired new chapter.
Nevertheless, there are some enjoyable moments. The heavier guitar riffs retain considerable personality, the rhythm section provides a convincing foundation, and the slower compositions occasionally recover the dark atmosphere I particularly appreciate in traditional doom metal. "Legacy" and "Beyond the Dead" demonstrate that Iommi can still create effective compositions when the songwriting gives his guitar playing enough space.
The relatively concise running time is another advantage. At around forty-two minutes, the album avoids becoming unnecessarily long, although I still find the musical approach rather repetitive by the end. More variety in the arrangements and a few stronger melodies would have made the experience considerably more rewarding.
Ultimately, From the Dark is a decent but rather unremarkable heavy metal album, with strong guitar performances and a few enjoyable compositions. I particularly appreciate "Legacy", "Beyond the Dead" and parts of "World Alone", where Iommi's distinctive guitar playing becomes the main attraction. However, the predictable songwriting, theatrical vocals and overly polished production prevent me from developing a stronger connection with the record. An enjoyable enough release from one of metal's most important musicians, but one that relies too heavily on his legacy rather than offering something genuinely memorable.
63/100
Playing time: 00:42:02
❤️ Favourite track: "Legacy"
+ Tony Iommi's unmistakable guitar tone, with powerful riffs and occasional convincing doom metal atmospheres
+ Some enjoyable compositions, particularly the darker and more expansive "Legacy" and "Beyond the Dead"
+ Strong instrumental performances and a relatively concise running time
– Predictable songwriting, with few memorable melodies or unexpected musical developments
– Excessively theatrical vocals and orchestral arrangements that occasionally overwhelm the guitars
– Overly polished production and a heavy reliance on familiar musical formulas rather than new ideas
Genre: Heavy Metal
Country: UK
Final Verdict: 63% (Good Album)
Yearly Ranking: 499th / 790
Highlight: Legacy
Made me think of:
Black Sabbath
Ozzy Osbourne
Dio
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