#karnivool — Public Fediverse posts

@TheMetalDog Incredibly interesting and revleaing interview with Drew from #Karnivool https://www.youtube.com/watch?v=A9vF6e6auPQ a lot said there that is new information, including a big jaw-dropper.

Sunday afternoon tunes.

Karnivool - In Verses

#nowplaying #karnivool

Karnivool live @ Backstage

#karnivool #backstage #livemusic

Karnivool live @ Backstage

#karnivool #backstage #livemusic

Heute Abend #Karnivool im #Werk2 .. dat wird sicher gut 🙂

#live #leipzig

Heute Abend #Karnivool im #Werk2 .. dat wird sicher gut 🙂

#live #leipzig

@edbilodeau Wait... there's ANOTHER #Karnivool fan in Ottawa? I'M NOT ALONE?!?!

Warten auf #karnivool im #docks

Warten auf #karnivool im #docks

Following a string of setbacks, barriers, and logistical complications, Aussie progressive rock/metal juggernaut Karnivool finally return with their hotly anticipated fourth opus, In Verses. After nearly thirteen years between drinks, the crafty quartet, from the far reaches and musical hotbed of Perth, Western Australia, make a welcome return for prog aficionados and longtime fans of the veteran collective, who flourished from crunchy alt metal and nü flavored beginnings, into a revered progressive band through three previous LPs of high quality. From the clever arrangements and blockbuster hooks of 2005’s Themata, through to the accomplished, complex Toolisms and evolving textures of stunning sophomore platter Sound Awake (2009), to the rawer, experimental edge of 2013’s Asymmetry, Karnivool’s discography is sparse yet undeniably excellent.

Approaching In Verses feels a little strange initially. Karnivool’s curious decision to gradually drip-feed half the album’s songs across numerous months lends a familiarity to those without the willpower to give in to temptation, ensuring several of the songs are well lived in before giving the entire opus full attention. Take, for instance, the stormy rhythmic thrust and instantly gratifying hooks of lead single “Drone” (released in July 2025) or the revamped, stuttering crunch of “All It Takes,” originally released back in 2021. These higher energy songs are scattered throughout an album that pivots into more measured, subdued progressive pathways, courtesy of several longer form melodic odysseys, rich in detail, slow burning builds, and emotive, gorgeous vocals from silky voiced frontman Ian Kenny.

Opener “Ghost” unfurls at a relaxed pace, ramping up tension before a delightfully heavy, Middle Eastern-esque groove kicks in. After doing the rounds in their live shows, it is cool to finally hear the song in its studio form. Its complex arrangement and grinding edge lend a darker, off-kilter punch before the infectious burst of “Drone” makes its impressive mark. In Verses largely maintains momentum, sequencing quibbles aside. The softer material and prog power balladry roughly consume half the album, finding Karnivool snaking down introspective, heartfelt pathways, while compromising elements of Karnivool’s signature heavier, energetic fare, leading to pangs of initial disappointment. Over time, these feelings subsided as the brooding tones, glistening melodies, and gentle swells washed over. Soaring mid-album cut “Conversations” comes replete with delicate guitar work undercutting earworm hooks that cut deep. From noodling, melancholic builds, to crunchier undertones and hooks that eventually penetrate the brain and prove tough to dislodge, “Reanimation” culminates with an epic, soul-tingling solo from prog veteran Guthrie Govan (The Aristocrats, Steven Wilson).

Following the infectious grooves and bright melodies of “Remote Self-Control”, In Verses wraps up with a pair of wrenching, lighter in the air ballads (“Opal,” and haunting, bagpiped-adorned “Salva”). Again, displaying the slow-burning unfurl, structural subtleties and pop sensibilities featuring prominently across the album’s mellower cuts. Kenny’s powerhouse singing has been a staple of the Aussie music scene for decades now, both with Karnivool and high-profile rockers (now the questionably pop-inclined) Birds of Tokyo. It’s another highlight reel performance, bolstering Karnivool’s muscular, progressive rock/metallic core with blockbuster hooks, singalong anthems, and an emotionally raw delivery. Drummer Steve Judd and bassist Jon Stockman lay a mighty foundation, through a complex, tightly synced mix of tricky rhythms and driving grooves, paving way for guitarists Drew Goddard and Mark Hosking to delve into their bag of tricks. Supplementing crushing bursts of technical riffage and chunky grooves with understated layers of texture and noodling prog excursions, the duo perform impressively.

Over an hour-long runtime, Karnivool mostly get things right, though astute editing in patches and sequencing to more effectively disperse the mellower fare and energetic numbers, creates lingering nitpicks. Thus, In Verses proves difficult to score. Much of the material achieves, or at least teeters on the cusp of greatness, though the minor bloat, uneven pacing, and ballad-heavy approach compromise the album’s undeniable strengths. Regardless, In Verses marks a nuanced, introspective step in Karnivool’s evolution, rewarding patience, while retaining the signature hallmarks, intelligent songwriting, and hooky accessibility curated over the past couple of decades. Definitely a grower, In Verses won’t change the minds of listeners previously unmoved by Karnivool. Another singular entry into the band’s outstanding repertoire, In Verses stays true to the winning facets that have led to Karnivool’s revered status. Falling narrowly short of the lofty heights of Themata or Sound Awake, flaws and all, In Verses triumphs on its own merits.



Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Cymatic Records
Websites: Official | Facebook
Releases Worldwide: February 6th, 2026

Following a string of setbacks, barriers, and logistical complications, Aussie progressive rock/metal juggernaut Karnivool finally return with their hotly anticipated fourth opus, In Verses. After nearly thirteen years between drinks, the crafty quartet, from the far reaches and musical hotbed of Perth, Western Australia, make a welcome return for prog aficionados and longtime fans of the veteran collective, who flourished from crunchy alt metal and nü flavored beginnings, into a revered progressive band through three previous LPs of high quality. From the clever arrangements and blockbuster hooks of 2005’s Themata, through to the accomplished, complex Toolisms and evolving textures of stunning sophomore platter Sound Awake (2009), to the rawer, experimental edge of 2013’s Asymmetry, Karnivool’s discography is sparse yet undeniably excellent.

Approaching In Verses feels a little strange initially. Karnivool’s curious decision to gradually drip-feed half the album’s songs across numerous months lends a familiarity to those without the willpower to give in to temptation, ensuring several of the songs are well lived in before giving the entire opus full attention. Take, for instance, the stormy rhythmic thrust and instantly gratifying hooks of lead single “Drone” (released in July 2025) or the revamped, stuttering crunch of “All It Takes,” originally released back in 2021. These higher energy songs are scattered throughout an album that pivots into more measured, subdued progressive pathways, courtesy of several longer form melodic odysseys, rich in detail, slow burning builds, and emotive, gorgeous vocals from silky voiced frontman Ian Kenny.

Opener “Ghost” unfurls at a relaxed pace, ramping up tension before a delightfully heavy, Middle Eastern-esque groove kicks in. After doing the rounds in their live shows, it is cool to finally hear the song in its studio form. Its complex arrangement and grinding edge lend a darker, off-kilter punch before the infectious burst of “Drone” makes its impressive mark. In Verses largely maintains momentum, sequencing quibbles aside. The softer material and prog power balladry roughly consume half the album, finding Karnivool snaking down introspective, heartfelt pathways, while compromising elements of Karnivool’s signature heavier, energetic fare, leading to pangs of initial disappointment. Over time, these feelings subsided as the brooding tones, glistening melodies, and gentle swells washed over. Soaring mid-album cut “Conversations” comes replete with delicate guitar work undercutting earworm hooks that cut deep. From noodling, melancholic builds, to crunchier undertones and hooks that eventually penetrate the brain and prove tough to dislodge, “Reanimation” culminates with an epic, soul-tingling solo from prog veteran Guthrie Govan (The Aristocrats, Steven Wilson).

Following the infectious grooves and bright melodies of “Remote Self-Control”, In Verses wraps up with a pair of wrenching, lighter in the air ballads (“Opal,” and haunting, bagpiped-adorned “Salva”). Again, displaying the slow-burning unfurl, structural subtleties and pop sensibilities featuring prominently across the album’s mellower cuts. Kenny’s powerhouse singing has been a staple of the Aussie music scene for decades now, both with Karnivool and high-profile rockers (now the questionably pop-inclined) Birds of Tokyo. It’s another highlight reel performance, bolstering Karnivool’s muscular, progressive rock/metallic core with blockbuster hooks, singalong anthems, and an emotionally raw delivery. Drummer Steve Judd and bassist Jon Stockman lay a mighty foundation, through a complex, tightly synced mix of tricky rhythms and driving grooves, paving way for guitarists Drew Goddard and Mark Hosking to delve into their bag of tricks. Supplementing crushing bursts of technical riffage and chunky grooves with understated layers of texture and noodling prog excursions, the duo perform impressively.

Over an hour-long runtime, Karnivool mostly get things right, though astute editing in patches and sequencing to more effectively disperse the mellower fare and energetic numbers, creates lingering nitpicks. Thus, In Verses proves difficult to score. Much of the material achieves, or at least teeters on the cusp of greatness, though the minor bloat, uneven pacing, and ballad-heavy approach compromise the album’s undeniable strengths. Regardless, In Verses marks a nuanced, introspective step in Karnivool’s evolution, rewarding patience, while retaining the signature hallmarks, intelligent songwriting, and hooky accessibility curated over the past couple of decades. Definitely a grower, In Verses won’t change the minds of listeners previously unmoved by Karnivool. Another singular entry into the band’s outstanding repertoire, In Verses stays true to the winning facets that have led to Karnivool’s revered status. Falling narrowly short of the lofty heights of Themata or Sound Awake, flaws and all, In Verses triumphs on its own merits.



Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Cymatic Records
Websites: Official | Facebook
Releases Worldwide: February 6th, 2026

Following a string of setbacks, barriers, and logistical complications, Aussie progressive rock/metal juggernaut Karnivool finally return with their hotly anticipated fourth opus, In Verses. After nearly thirteen years between drinks, the crafty quartet, from the far reaches and musical hotbed of Perth, Western Australia, make a welcome return for prog aficionados and longtime fans of the veteran collective, who flourished from crunchy alt metal and nü flavored beginnings, into a revered progressive band through three previous LPs of high quality. From the clever arrangements and blockbuster hooks of 2005’s Themata, through to the accomplished, complex Toolisms and evolving textures of stunning sophomore platter Sound Awake (2009), to the rawer, experimental edge of 2013’s Asymmetry, Karnivool’s discography is sparse yet undeniably excellent.

Approaching In Verses feels a little strange initially. Karnivool’s curious decision to gradually drip-feed half the album’s songs across numerous months lends a familiarity to those without the willpower to give in to temptation, ensuring several of the songs are well lived in before giving the entire opus full attention. Take, for instance, the stormy rhythmic thrust and instantly gratifying hooks of lead single “Drone” (released in July 2025) or the revamped, stuttering crunch of “All It Takes,” originally released back in 2021. These higher energy songs are scattered throughout an album that pivots into more measured, subdued progressive pathways, courtesy of several longer form melodic odysseys, rich in detail, slow burning builds, and emotive, gorgeous vocals from silky voiced frontman Ian Kenny.

Opener “Ghost” unfurls at a relaxed pace, ramping up tension before a delightfully heavy, Middle Eastern-esque groove kicks in. After doing the rounds in their live shows, it is cool to finally hear the song in its studio form. Its complex arrangement and grinding edge lend a darker, off-kilter punch before the infectious burst of “Drone” makes its impressive mark. In Verses largely maintains momentum, sequencing quibbles aside. The softer material and prog power balladry roughly consume half the album, finding Karnivool snaking down introspective, heartfelt pathways, while compromising elements of Karnivool’s signature heavier, energetic fare, leading to pangs of initial disappointment. Over time, these feelings subsided as the brooding tones, glistening melodies, and gentle swells washed over. Soaring mid-album cut “Conversations” comes replete with delicate guitar work undercutting earworm hooks that cut deep. From noodling, melancholic builds, to crunchier undertones and hooks that eventually penetrate the brain and prove tough to dislodge, “Reanimation” culminates with an epic, soul-tingling solo from prog veteran Guthrie Govan (The Aristocrats, Steven Wilson).

Following the infectious grooves and bright melodies of “Remote Self-Control”, In Verses wraps up with a pair of wrenching, lighter in the air ballads (“Opal,” and haunting, bagpiped-adorned “Salva”). Again, displaying the slow-burning unfurl, structural subtleties and pop sensibilities featuring prominently across the album’s mellower cuts. Kenny’s powerhouse singing has been a staple of the Aussie music scene for decades now, both with Karnivool and high-profile rockers (now the questionably pop-inclined) Birds of Tokyo. It’s another highlight reel performance, bolstering Karnivool’s muscular, progressive rock/metallic core with blockbuster hooks, singalong anthems, and an emotionally raw delivery. Drummer Steve Judd and bassist Jon Stockman lay a mighty foundation, through a complex, tightly synced mix of tricky rhythms and driving grooves, paving way for guitarists Drew Goddard and Mark Hosking to delve into their bag of tricks. Supplementing crushing bursts of technical riffage and chunky grooves with understated layers of texture and noodling prog excursions, the duo perform impressively.

Over an hour-long runtime, Karnivool mostly get things right, though astute editing in patches and sequencing to more effectively disperse the mellower fare and energetic numbers, creates lingering nitpicks. Thus, In Verses proves difficult to score. Much of the material achieves, or at least teeters on the cusp of greatness, though the minor bloat, uneven pacing, and ballad-heavy approach compromise the album’s undeniable strengths. Regardless, In Verses marks a nuanced, introspective step in Karnivool’s evolution, rewarding patience, while retaining the signature hallmarks, intelligent songwriting, and hooky accessibility curated over the past couple of decades. Definitely a grower, In Verses won’t change the minds of listeners previously unmoved by Karnivool. Another singular entry into the band’s outstanding repertoire, In Verses stays true to the winning facets that have led to Karnivool’s revered status. Falling narrowly short of the lofty heights of Themata or Sound Awake, flaws and all, In Verses triumphs on its own merits.



Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Cymatic Records
Websites: Official | Facebook
Releases Worldwide: February 6th, 2026

Following a string of setbacks, barriers, and logistical complications, Aussie progressive rock/metal juggernaut Karnivool finally return with their hotly anticipated fourth opus, In Verses. After nearly thirteen years between drinks, the crafty quartet, from the far reaches and musical hotbed of Perth, Western Australia, make a welcome return for prog aficionados and longtime fans of the veteran collective, who flourished from crunchy alt metal and nü flavored beginnings, into a revered progressive band through three previous LPs of high quality. From the clever arrangements and blockbuster hooks of 2005’s Themata, through to the accomplished, complex Toolisms and evolving textures of stunning sophomore platter Sound Awake (2009), to the rawer, experimental edge of 2013’s Asymmetry, Karnivool’s discography is sparse yet undeniably excellent.

Approaching In Verses feels a little strange initially. Karnivool’s curious decision to gradually drip-feed half the album’s songs across numerous months lends a familiarity to those without the willpower to give in to temptation, ensuring several of the songs are well lived in before giving the entire opus full attention. Take, for instance, the stormy rhythmic thrust and instantly gratifying hooks of lead single “Drone” (released in July 2025) or the revamped, stuttering crunch of “All It Takes,” originally released back in 2021. These higher energy songs are scattered throughout an album that pivots into more measured, subdued progressive pathways, courtesy of several longer form melodic odysseys, rich in detail, slow burning builds, and emotive, gorgeous vocals from silky voiced frontman Ian Kenny.

Opener “Ghost” unfurls at a relaxed pace, ramping up tension before a delightfully heavy, Middle Eastern-esque groove kicks in. After doing the rounds in their live shows, it is cool to finally hear the song in its studio form. Its complex arrangement and grinding edge lend a darker, off-kilter punch before the infectious burst of “Drone” makes its impressive mark. In Verses largely maintains momentum, sequencing quibbles aside. The softer material and prog power balladry roughly consume half the album, finding Karnivool snaking down introspective, heartfelt pathways, while compromising elements of Karnivool’s signature heavier, energetic fare, leading to pangs of initial disappointment. Over time, these feelings subsided as the brooding tones, glistening melodies, and gentle swells washed over. Soaring mid-album cut “Conversations” comes replete with delicate guitar work undercutting earworm hooks that cut deep. From noodling, melancholic builds, to crunchier undertones and hooks that eventually penetrate the brain and prove tough to dislodge, “Reanimation” culminates with an epic, soul-tingling solo from prog veteran Guthrie Govan (The Aristocrats, Steven Wilson).

Following the infectious grooves and bright melodies of “Remote Self-Control”, In Verses wraps up with a pair of wrenching, lighter in the air ballads (“Opal,” and haunting, bagpiped-adorned “Salva”). Again, displaying the slow-burning unfurl, structural subtleties and pop sensibilities featuring prominently across the album’s mellower cuts. Kenny’s powerhouse singing has been a staple of the Aussie music scene for decades now, both with Karnivool and high-profile rockers (now the questionably pop-inclined) Birds of Tokyo. It’s another highlight reel performance, bolstering Karnivool’s muscular, progressive rock/metallic core with blockbuster hooks, singalong anthems, and an emotionally raw delivery. Drummer Steve Judd and bassist Jon Stockman lay a mighty foundation, through a complex, tightly synced mix of tricky rhythms and driving grooves, paving way for guitarists Drew Goddard and Mark Hosking to delve into their bag of tricks. Supplementing crushing bursts of technical riffage and chunky grooves with understated layers of texture and noodling prog excursions, the duo perform impressively.

Over an hour-long runtime, Karnivool mostly get things right, though astute editing in patches and sequencing to more effectively disperse the mellower fare and energetic numbers, creates lingering nitpicks. Thus, In Verses proves difficult to score. Much of the material achieves, or at least teeters on the cusp of greatness, though the minor bloat, uneven pacing, and ballad-heavy approach compromise the album’s undeniable strengths. Regardless, In Verses marks a nuanced, introspective step in Karnivool’s evolution, rewarding patience, while retaining the signature hallmarks, intelligent songwriting, and hooky accessibility curated over the past couple of decades. Definitely a grower, In Verses won’t change the minds of listeners previously unmoved by Karnivool. Another singular entry into the band’s outstanding repertoire, In Verses stays true to the winning facets that have led to Karnivool’s revered status. Falling narrowly short of the lofty heights of Themata or Sound Awake, flaws and all, In Verses triumphs on its own merits.



Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Cymatic Records
Websites: Official | Facebook
Releases Worldwide: February 6th, 2026

Following a string of setbacks, barriers, and logistical complications, Aussie progressive rock/metal juggernaut Karnivool finally return with their hotly anticipated fourth opus, In Verses. After nearly thirteen years between drinks, the crafty quartet, from the far reaches and musical hotbed of Perth, Western Australia, make a welcome return for prog aficionados and longtime fans of the veteran collective, who flourished from crunchy alt metal and nü flavored beginnings, into a revered progressive band through three previous LPs of high quality. From the clever arrangements and blockbuster hooks of 2005’s Themata, through to the accomplished, complex Toolisms and evolving textures of stunning sophomore platter Sound Awake (2009), to the rawer, experimental edge of 2013’s Asymmetry, Karnivool’s discography is sparse yet undeniably excellent.

Approaching In Verses feels a little strange initially. Karnivool’s curious decision to gradually drip-feed half the album’s songs across numerous months lends a familiarity to those without the willpower to give in to temptation, ensuring several of the songs are well lived in before giving the entire opus full attention. Take, for instance, the stormy rhythmic thrust and instantly gratifying hooks of lead single “Drone” (released in July 2025) or the revamped, stuttering crunch of “All It Takes,” originally released back in 2021. These higher energy songs are scattered throughout an album that pivots into more measured, subdued progressive pathways, courtesy of several longer form melodic odysseys, rich in detail, slow burning builds, and emotive, gorgeous vocals from silky voiced frontman Ian Kenny.

Opener “Ghost” unfurls at a relaxed pace, ramping up tension before a delightfully heavy, Middle Eastern-esque groove kicks in. After doing the rounds in their live shows, it is cool to finally hear the song in its studio form. Its complex arrangement and grinding edge lend a darker, off-kilter punch before the infectious burst of “Drone” makes its impressive mark. In Verses largely maintains momentum, sequencing quibbles aside. The softer material and prog power balladry roughly consume half the album, finding Karnivool snaking down introspective, heartfelt pathways, while compromising elements of Karnivool’s signature heavier, energetic fare, leading to pangs of initial disappointment. Over time, these feelings subsided as the brooding tones, glistening melodies, and gentle swells washed over. Soaring mid-album cut “Conversations” comes replete with delicate guitar work undercutting earworm hooks that cut deep. From noodling, melancholic builds, to crunchier undertones and hooks that eventually penetrate the brain and prove tough to dislodge, “Reanimation” culminates with an epic, soul-tingling solo from prog veteran Guthrie Govan (The Aristocrats, Steven Wilson).

Following the infectious grooves and bright melodies of “Remote Self-Control”, In Verses wraps up with a pair of wrenching, lighter in the air ballads (“Opal,” and haunting, bagpiped-adorned “Salva”). Again, displaying the slow-burning unfurl, structural subtleties and pop sensibilities featuring prominently across the album’s mellower cuts. Kenny’s powerhouse singing has been a staple of the Aussie music scene for decades now, both with Karnivool and high-profile rockers (now the questionably pop-inclined) Birds of Tokyo. It’s another highlight reel performance, bolstering Karnivool’s muscular, progressive rock/metallic core with blockbuster hooks, singalong anthems, and an emotionally raw delivery. Drummer Steve Judd and bassist Jon Stockman lay a mighty foundation, through a complex, tightly synced mix of tricky rhythms and driving grooves, paving way for guitarists Drew Goddard and Mark Hosking to delve into their bag of tricks. Supplementing crushing bursts of technical riffage and chunky grooves with understated layers of texture and noodling prog excursions, the duo perform impressively.

Over an hour-long runtime, Karnivool mostly get things right, though astute editing in patches and sequencing to more effectively disperse the mellower fare and energetic numbers, creates lingering nitpicks. Thus, In Verses proves difficult to score. Much of the material achieves, or at least teeters on the cusp of greatness, though the minor bloat, uneven pacing, and ballad-heavy approach compromise the album’s undeniable strengths. Regardless, In Verses marks a nuanced, introspective step in Karnivool’s evolution, rewarding patience, while retaining the signature hallmarks, intelligent songwriting, and hooky accessibility curated over the past couple of decades. Definitely a grower, In Verses won’t change the minds of listeners previously unmoved by Karnivool. Another singular entry into the band’s outstanding repertoire, In Verses stays true to the winning facets that have led to Karnivool’s revered status. Falling narrowly short of the lofty heights of Themata or Sound Awake, flaws and all, In Verses triumphs on its own merits.



Rating: 3.5/5.0
DR: N/A | Format Reviewed: Stream
Label: Cymatic Records
Websites: Official | Facebook
Releases Worldwide: February 6th, 2026

Es scheint unvorstellbar, dass eine erfolgreiche Band so lange brauchen würde, um ein neues Album aufzunehmen. Dreizehn Jahre ist eine lange, lange Zeit. In einer solchen Zeitspanne kann so viel passieren, auf der Welt, im Leben. Genau hier setzen KARNIVOOL mit ihrem vierten Album an. „In Verses“ wird zum Soundtrack des Lebens, zur Selbstreflexion. #karnivool #progressivemetal

https://www.burnyourears.de/reviews/genres/progressive-metal/54795-karnivool-in-verses.html

Last Minute #MusicMonday: Karnivool - "Conversations"

https://www.youtube.com/watch?v=dICzpAUIysA

Still think "Sound Awake" was their peak, but this song from the new record is nice nonetheless!

All my Monday picks in one convenient playlist:
https://open.spotify.com/playlist/0QM8g9O3FgZdaWeJPPMFrp

#Music #Karnivool #ProgressiveRock #Prog

New album: #Karnivool - In Verses
New book: #AndyWeir - #ProjectHailMary

Book is being made into a movie that sounds interesting.

CD-Review - KARNIVOOL - In Verses
https://www.hooked-on-music.de/review/cd-review-karnivool-in-verses/16531
#cd #review #karnivool #inverses

I just finished the new #Karnivool album. They usually have one song on the album that I absolutely hate (it was "The Refusal" on the last album), but this album did not have one. I think "Salva" is my favorite track from this one.

#ProgRock

Neue Karnivool ist toll. #Karnivool

New #Karnivool album released today.

https://youtu.be/6w8_kuDTnow

#NP #NowPlaying

Stayed up late to listen to new #Karnivool record, their first in 13 years. My favorite band.

It didn't have to be this good. I'm old enough to know how hard it is, how fleeting it is, and I no longer feel that any group "owes" the world more. But I'm overjoyed that it is.

#music

Karnivool’s new album In Verses was worth the 13-year wait, bagpipes and all

Thirteen years is a lifetime in the world of popular music. Especially these days, when the industry is…
#NewsBeep #News #Entertainment #AU #Australia #djfrontpage #iankennykarnivool #inverses #Karnivool #karnivoolinverses #karnivoollyrics #karnivoolnewalbum #karnivoolreview
https://www.newsbeep.com/au/461211/

Recensie: Karnivool – In Verses ★★★★½
https://wimbeta.nl/dev/albumrecensie/karnivool-in-verses/

#Music #Metal #Karnivool #InsideOut/SonyMusic #SonyMusic

Recensie: Karnivool – In Verses ★★★★½
https://wimbeta.nl/dev/albumrecensie/karnivool-in-verses/

#Music #Metal #Karnivool #InsideOut/SonyMusic #SonyMusic

Recensie: Karnivool – In Verses (EN) ★★★★½
https://writteninmusic.com/albumrecensie/karnivool-in-verses-en/

#Music #Metal #Karnivool #InsideOut/SonyMusic #SonyMusic

Recensie: Karnivool – In Verses ★★★★½
https://writteninmusic.com/albumrecensie/karnivool-in-verses/

#Music #Metal #Karnivool #InsideOut/SonyMusic #SonyMusic

Recensie: Karnivool – In Verses ★★★★½
https://writteninmusic.com/albumrecensie/karnivool-in-verses/

#Music #Metal #Karnivool #InsideOut/SonyMusic #SonyMusic

#Karnivool has a new album coming up in a few days called In Verses.
#eclipsed has it as AOTM, with an 8/10 rating and "artverwandt" artists #Tool, #PorcupineTree, #Wheel.

They could have just as easily mentioned me by name. 😂 I've put it on preorder at my local book store.

#Karnivool has a new album coming up in a few days called In Verses.
#eclipsed has it as AOTM, with an 8/10 rating and "artverwandt" artists #Tool, #PorcupineTree, #Wheel.

They could have just as easily mentioned me by name. 😂 I've put it on preorder at my local book store.

#Karnivool has a new album coming up in a few days called In Verses.
#eclipsed has it as AOTM, with an 8/10 rating and "artverwandt" artists #Tool, #PorcupineTree, #Wheel.

They could have just as easily mentioned me by name. 😂 I've put it on preorder at my local book store.

Wrote a #WhiteroomReviews news item regarding #Karnivool

Go check it out <3

https://www.whiteroomreviews.nl/nieuws/karnivool-released-animation-en-nodigt-fans-uit-voor-akoestische-optredens

Wrote a #WhiteroomReviews news item regarding #Karnivool

Go check it out <3

https://www.whiteroomreviews.nl/nieuws/karnivool-released-animation-en-nodigt-fans-uit-voor-akoestische-optredens

Wrote a #WhiteroomReviews news item regarding #Karnivool

Go check it out <3

https://www.whiteroomreviews.nl/nieuws/karnivool-released-animation-en-nodigt-fans-uit-voor-akoestische-optredens

Wrote a #WhiteroomReviews news item regarding #Karnivool

Go check it out <3

https://www.whiteroomreviews.nl/nieuws/karnivool-released-animation-en-nodigt-fans-uit-voor-akoestische-optredens

New post: Album Review: Karnivool – In Verses https://moshville.co.uk/reviews/album-review/2026/01/album-review-karnivool-in-verses/ #Karnivool

🎁 🎸 Que bom agasalho de Natal: enteirar-me de que o dia 6 de fevereiro teremos novo disco dos australians Karnivool! Polo de agora, vai um aperitivo: https://yewtu.be/watch?v=eeJiWY0i9wo

#Karnivool #ProgRock #Metal

Amon Amarth, Orbit Culture und Soilwork
07.11.2026 Berlin / Velodrom

Belzebong
13.12.2025 Berlin / Wild At Heart

Foo Fighters
01.07.2026 Berlin / Olympiastadion

Inhaler, Fat Dog, Otoboke Beaver, IDLES und Foo Fighters
01.07.2026 Berlin / Olympiastadion

Karnivool und Intervals
21.04.2026 Berlin / Huxleys

M?l und Cold Night For Alligators
06.02.2026 Berlin / Hole 44

Power State und Nazareth
17.12.2025 Berlin / Uber Eats Music Hall

#AmonAmarth #Belzebong #Berlin #FooFighters #Hole44 #Huxleys #Inhaler #Karnivool #Mol #Olympiastadion #PowerState #UberEatsMusicHall #Velodrom #WildAtHeart #SteelFeed

For @DXMacGuffin's #ProgTuesday:

#Karnivool: Aozora

https://song.link/td7rdfm0nnhxr

#ProgMetal #ProgRock

FFO #CaligulasHorse #DeadLetterCircus #Rishloo

For @DXMacGuffin's #ProgTuesday:

#Karnivool: Aozora

https://song.link/td7rdfm0nnhxr

#ProgMetal #ProgRock

FFO #CaligulasHorse #DeadLetterCircus #Rishloo

For @DXMacGuffin's #ProgTuesday:

#Karnivool: Aozora

https://song.link/td7rdfm0nnhxr

#ProgMetal #ProgRock

FFO #CaligulasHorse #DeadLetterCircus #Rishloo

For @DXMacGuffin's #ProgTuesday:

#Karnivool: Aozora

https://song.link/td7rdfm0nnhxr

#ProgMetal #ProgRock

FFO #CaligulasHorse #DeadLetterCircus #Rishloo

For @DXMacGuffin's #ProgTuesday:

#Karnivool: Aozora

#ProgMetal #ProgRock

FFO #CaligulasHorse #DeadLetterCircus #Rishloo

I can't believe it - #Karnivool is releasing a new album in February 2026! So pumped!!! #inverses #karnivoolband #progressivemetal

New Artist announced for Brutal Assault 2025

Karnivool

Added top 5 songs to the playlist Brutal Assault 2025

Listen now on YouTube Music: https://www.youtube.com/playlist?list=PLB5UNN-XlHr0rh29U4Y_z9bLsEvq2Ne_v

#Brutal_Assault_2025 #Karnivool #fyre_festivals #livemusic #youtube #music #2025 #musicfestivals

Lizzard – Mesh Review

By Dolphin Whisperer

Back when 2020 was turning the page to hopefully a better year, I caught a podcast of a little-spread act, Lizzard, and their freshly forthcoming album Eroded. They chatted with a nervous excitement about their fairly organic and elegant approach to producing a lush and layered form of prog-minded sounds influenced by memories of 90s radio rock. Memory can be fickle. I have plenty of memories of alternative radio from that time and the early 00s, most not particularly fond. If you wander through a neighborhood grocery store you can still relive these recordings, a gentle drop of an infectious yet placid Train chorus or forlorn, funky croon of Incubus or Radiohead. And though the predictable structure of this music—that is Mesh or some of its distant inspirations—may not seem readily appealing, the precise twists of tone or delicate experimentations that these aged tunes possess hold a certain charm that can often be missing in the resonance of today’s rock music scene.

That’s not to say that Lizzard shares nothing in common with the sounds of modern progressive acts. The material off prior releases 2014’s Majestic or 2018’s Shift reveal the same kind of Tool-ish syncopations and gazey, post-leaning Deftones grooves that smatter about contemporaries like Wheel or Hippotraktor. But Lizzard arrives loaded instead with warm, vibrant guitar tones; well-framed, shifting rhythms; and crushing, sing-song bass rattling that comes together against hypnotizing and emotive refrains. Despite pushing an audible gloom, guitarist and vocalist Mathieu Ricou doesn’t possess a powerhouse sadboi voice,1 falling into the Jonas Renkse (Katatonia) school of growth by iterative force, pushing the bounds of a crinkling pathos against glistening and glowing melodies (“Home Seek,” “Minim,” “The Beholder”). Mesh wears in plain sight the cracked color vocal palette of its inspirations—the fragile skip of Thom Yorke (Radiohead), the fluttering falsetto of Ian Kenny (Karnivool, Birds of Tokyo). Though, importantly, with that same lyrical atmosphere Lizzard rides the waves of their reverberating melancholy to brighter pastures with practiced aplomb (“Elevate,” “Home Seek,” “The Beholder”).

The captivating strength of Lizzard’s lead drives gives Mesh the power to hook no matter the manner of attack. Whether amp-blowing riff (“Unity”), nasally bass warble (“New Page,” “Home Seek”), or united rocking thrust (“Black Sheep”), each successive passage builds in subtle ways on the last. It’s simple—Lizzard wears the verse-chorus-verse-chorus-bridge-chorus tried and trusted pattern well. This adherence to The Beatles method of elegant accentuations within the box of the AABA allows Ricou to step back and use looped or steady patterns to let Will Knox’s wide bass slips and slides be a voice that flitters about in near harmony to Ricou’s poetic recitals (“New Page,” “Mad Hatters”). And elsewhere, Knox and drummer Katy Elwell maintain a thundering pulse to allow Ricou’s tension-loaded scale explorations evolve into post-rock-inspired bright chord crescendos, with “The Unseen” even featuring a gaze-drenched-yet-snappy solo.

The consistency that runs through Mesh allows each song’s peaks and flairs to weave the experience into a cohesive whole. At first blush, it’s easy to parse Mesh as a collection of great songs. But in the presence of its individually structure nature, the cyclical flow of bursting intro to playful melodies to sweeping codas spills over into the atmosphere between each number. Hard-hitting, riff-loaded jams have full-brake resolutions (“Unity,” “Black Sheep,” “The Unseen”). Other songs that steer with crystalline arpeggio hooks and cymbal-splashed ceilings segue with a shimmered reverb harmonic that maintains the somber mood. And the closing trio functions as one extended thought, with “The Beholder” intentionally starting with hard-panned bass and guitar to mimic the division of it all until the first chorus unites the duo.

Predicting that which will deeply resonate within our listening hearts stands as an effort futile, misguided by the things we want rather than need. I never could have predicted that 2021 would deliver me Lizzard’s Eroded, a modern classic in my head canon. And though Lizzard’s back catalog remains loaded with smart tune after smart tune, Mesh still had no guarantee of landing as a success. Mesh is not the definitive and downcast cry that drilled Eroded deep into my listening heart. But it is steady, lush, and hopeful. Mesh is not an album that revels in virtuosic spectacle or deeply layered narrative. But it is so finely woven in execution—exacting and exuberant—that Mesh too has embedded itself as necessary progressive listening.

Rating: 4.0/5.0
DR: 72 | Format Reviewed: 320 kbps mp3
Label: Pelagic Records | Bandcamp
Websites: lizzardband.bandcamp.com | facebook.com/lizzardmusic
Releases Worldwide: September 27th, 2024

#402024 #AlternativeRock #ArtRock #BirdsOfTokyo #Deftones #Eroded #FrenchMetal #Hippotraktor #Incubus #Karnivool #Katatonia #Lizzard #Mesh #PelagicRecords #PostRock #PostMetal #ProgressiveRock #Radiohead #Review #Reviews #Sep24 #TheBeatles #Train #Wheel

Lizzard – Mesh Review

By Dolphin Whisperer

Back when 2020 was turning the page to hopefully a better year, I caught a podcast of a little-spread act, Lizzard, and their freshly forthcoming album Eroded. They chatted with a nervous excitement about their fairly organic and elegant approach to producing a lush and layered form of prog-minded sounds influenced by memories of 90s radio rock. Memory can be fickle. I have plenty of memories of alternative radio from that time and the early 00s, most not particularly fond. If you wander through a neighborhood grocery store you can still relive these recordings, a gentle drop of an infectious yet placid Train chorus or forlorn, funky croon of Incubus or Radiohead. And though the predictable structure of this music—that is Mesh or some of its distant inspirations—may not seem readily appealing, the precise twists of tone or delicate experimentations that these aged tunes possess hold a certain charm that can often be missing in the resonance of today’s rock music scene.

That’s not to say that Lizzard shares nothing in common with the sounds of modern progressive acts. The material off prior releases 2014’s Majestic or 2018’s Shift reveal the same kind of Tool-ish syncopations and gazey, post-leaning Deftones grooves that smatter about contemporaries like Wheel or Hippotraktor. But Lizzard arrives loaded instead with warm, vibrant guitar tones; well-framed, shifting rhythms; and crushing, sing-song bass rattling that comes together against hypnotizing and emotive refrains. Despite pushing an audible gloom, guitarist and vocalist Mathieu Ricou doesn’t possess a powerhouse sadboi voice,1 falling into the Jonas Renkse (Katatonia) school of growth by iterative force, pushing the bounds of a crinkling pathos against glistening and glowing melodies (“Home Seek,” “Minim,” “The Beholder”). Mesh wears in plain sight the cracked color vocal palette of its inspirations—the fragile skip of Thom Yorke (Radiohead), the fluttering falsetto of Ian Kenny (Karnivool, Birds of Tokyo). Though, importantly, with that same lyrical atmosphere Lizzard rides the waves of their reverberating melancholy to brighter pastures with practiced aplomb (“Elevate,” “Home Seek,” “The Beholder”).

The captivating strength of Lizzard’s lead drives gives Mesh the power to hook no matter the manner of attack. Whether amp-blowing riff (“Unity”), nasally bass warble (“New Page,” “Home Seek”), or united rocking thrust (“Black Sheep”), each successive passage builds in subtle ways on the last. It’s simple—Lizzard wears the verse-chorus-verse-chorus-bridge-chorus tried and trusted pattern well. This adherence to The Beatles method of elegant accentuations within the box of the AABA allows Ricou to step back and use looped or steady patterns to let Will Knox’s wide bass slips and slides be a voice that flitters about in near harmony to Ricou’s poetic recitals (“New Page,” “Mad Hatters”). And elsewhere, Knox and drummer Katy Elwell maintain a thundering pulse to allow Ricou’s tension-loaded scale explorations evolve into post-rock-inspired bright chord crescendos, with “The Unseen” even featuring a gaze-drenched-yet-snappy solo.

The consistency that runs through Mesh allows each song’s peaks and flairs to weave the experience into a cohesive whole. At first blush, it’s easy to parse Mesh as a collection of great songs. But in the presence of its individually structure nature, the cyclical flow of bursting intro to playful melodies to sweeping codas spills over into the atmosphere between each number. Hard-hitting, riff-loaded jams have full-brake resolutions (“Unity,” “Black Sheep,” “The Unseen”). Other songs that steer with crystalline arpeggio hooks and cymbal-splashed ceilings segue with a shimmered reverb harmonic that maintains the somber mood. And the closing trio functions as one extended thought, with “The Beholder” intentionally starting with hard-panned bass and guitar to mimic the division of it all until the first chorus unites the duo.

Predicting that which will deeply resonate within our listening hearts stands as an effort futile, misguided by the things we want rather than need. I never could have predicted that 2021 would deliver me Lizzard’s Eroded, a modern classic in my head canon. And though Lizzard’s back catalog remains loaded with smart tune after smart tune, Mesh still had no guarantee of landing as a success. Mesh is not the definitive and downcast cry that drilled Eroded deep into my listening heart. But it is steady, lush, and hopeful. Mesh is not an album that revels in virtuosic spectacle or deeply layered narrative. But it is so finely woven in execution—exacting and exuberant—that Mesh too has embedded itself as necessary progressive listening.

Rating: 4.0/5.0
DR: 72 | Format Reviewed: 320 kbps mp3
Label: Pelagic Records | Bandcamp
Websites: lizzardband.bandcamp.com | facebook.com/lizzardmusic
Releases Worldwide: September 27th, 2024

#402024 #AlternativeRock #ArtRock #BirdsOfTokyo #Deftones #Eroded #FrenchMetal #Hippotraktor #Incubus #Karnivool #Katatonia #Lizzard #Mesh #PelagicRecords #PostRock #PostMetal #ProgressiveRock #Radiohead #Review #Reviews #Sep24 #TheBeatles #Train #Wheel

Lizzard – Mesh Review

By Dolphin Whisperer

Back when 2020 was turning the page to hopefully a better year, I caught a podcast of a little-spread act, Lizzard, and their freshly forthcoming album Eroded. They chatted with a nervous excitement about their fairly organic and elegant approach to producing a lush and layered form of prog-minded sounds influenced by memories of 90s radio rock. Memory can be fickle. I have plenty of memories of alternative radio from that time and the early 00s, most not particularly fond. If you wander through a neighborhood grocery store you can still relive these recordings, a gentle drop of an infectious yet placid Train chorus or forlorn, funky croon of Incubus or Radiohead. And though the predictable structure of this music—that is Mesh or some of its distant inspirations—may not seem readily appealing, the precise twists of tone or delicate experimentations that these aged tunes possess hold a certain charm that can often be missing in the resonance of today’s rock music scene.

That’s not to say that Lizzard shares nothing in common with the sounds of modern progressive acts. The material off prior releases 2014’s Majestic or 2018’s Shift reveal the same kind of Tool-ish syncopations and gazey, post-leaning Deftones grooves that smatter about contemporaries like Wheel or Hippotraktor. But Lizzard arrives loaded instead with warm, vibrant guitar tones; well-framed, shifting rhythms; and crushing, sing-song bass rattling that comes together against hypnotizing and emotive refrains. Despite pushing an audible gloom, guitarist and vocalist Mathieu Ricou doesn’t possess a powerhouse sadboi voice,1 falling into the Jonas Renkse (Katatonia) school of growth by iterative force, pushing the bounds of a crinkling pathos against glistening and glowing melodies (“Home Seek,” “Minim,” “The Beholder”). Mesh wears in plain sight the cracked color vocal palette of its inspirations—the fragile skip of Thom Yorke (Radiohead), the fluttering falsetto of Ian Kenny (Karnivool, Birds of Tokyo). Though, importantly, with that same lyrical atmosphere Lizzard rides the waves of their reverberating melancholy to brighter pastures with practiced aplomb (“Elevate,” “Home Seek,” “The Beholder”).

The captivating strength of Lizzard’s lead drives gives Mesh the power to hook no matter the manner of attack. Whether amp-blowing riff (“Unity”), nasally bass warble (“New Page,” “Home Seek”), or united rocking thrust (“Black Sheep”), each successive passage builds in subtle ways on the last. It’s simple—Lizzard wears the verse-chorus-verse-chorus-bridge-chorus tried and trusted pattern well. This adherence to The Beatles method of elegant accentuations within the box of the AABA allows Ricou to step back and use looped or steady patterns to let Will Knox’s wide bass slips and slides be a voice that flitters about in near harmony to Ricou’s poetic recitals (“New Page,” “Mad Hatters”). And elsewhere, Knox and drummer Katy Elwell maintain a thundering pulse to allow Ricou’s tension-loaded scale explorations evolve into post-rock-inspired bright chord crescendos, with “The Unseen” even featuring a gaze-drenched-yet-snappy solo.

The consistency that runs through Mesh allows each song’s peaks and flairs to weave the experience into a cohesive whole. At first blush, it’s easy to parse Mesh as a collection of great songs. But in the presence of its individually structure nature, the cyclical flow of bursting intro to playful melodies to sweeping codas spills over into the atmosphere between each number. Hard-hitting, riff-loaded jams have full-brake resolutions (“Unity,” “Black Sheep,” “The Unseen”). Other songs that steer with crystalline arpeggio hooks and cymbal-splashed ceilings segue with a shimmered reverb harmonic that maintains the somber mood. And the closing trio functions as one extended thought, with “The Beholder” intentionally starting with hard-panned bass and guitar to mimic the division of it all until the first chorus unites the duo.

Predicting that which will deeply resonate within our listening hearts stands as an effort futile, misguided by the things we want rather than need. I never could have predicted that 2021 would deliver me Lizzard’s Eroded, a modern classic in my head canon. And though Lizzard’s back catalog remains loaded with smart tune after smart tune, Mesh still had no guarantee of landing as a success. Mesh is not the definitive and downcast cry that drilled Eroded deep into my listening heart. But it is steady, lush, and hopeful. Mesh is not an album that revels in virtuosic spectacle or deeply layered narrative. But it is so finely woven in execution—exacting and exuberant—that Mesh too has embedded itself as necessary progressive listening.

Rating: 4.0/5.0
DR: 72 | Format Reviewed: 320 kbps mp3
Label: Pelagic Records | Bandcamp
Websites: lizzardband.bandcamp.com | facebook.com/lizzardmusic
Releases Worldwide: September 27th, 2024

#402024 #AlternativeRock #ArtRock #BirdsOfTokyo #Deftones #Eroded #FrenchMetal #Hippotraktor #Incubus #Karnivool #Katatonia #Lizzard #Mesh #PelagicRecords #PostRock #PostMetal #ProgressiveRock #Radiohead #Review #Reviews #Sep24 #TheBeatles #Train #Wheel

Caligula’s Horse – Charcoal Grace Review

By Dolphin Whisperer

You never know which bands are going to pull together seemingly disparate minds, whether it be the starving prog fans who can’t agree on anything or the ever-diverging wiles of our own Angry Metal Overlord and Kronos—the polished professor and the angular dreamer. But more so than any other band in the modern progscape, Caligula’s Horse does just that, bridging the gap of the jittery, sweep-starved guitar lover; the hug-craving, sunset-staring sadboi; the chorus-hook, bravado-stricken empath, all with a brand of progressive metal that’s grown alongside genre titans Haken and Leprous in curious, somewhat convergent ways. But these Aussie alt-rock-leaning proggers continue to paint with broader strokes, cement their identity separately, and avoid heavy djentrification by maintaining a sweeping, cinematic focus. The feels come first on this conceptual carriage.

Prancing like studious steeds, Caligula‘s Horse has drifted down a lane of increasing pleasantness from their rockier roots, each adventure whittling away the screeching, squealing, and shredding tones of their guitar love—the trap of adopting the impact of modern chuggery. However, in that further compressed thump and groove, Caligula’s Horse has managed both to break a Karnivool-ish catchiness into their alt-ered state (Bloom, 2015) and whip it further with heart-fluttering fantasy (In Contact,1 2017). In some ways, then, 2020’s Rise Radiant felt like a misstep, with the band refocusing again on finding a wider-reaching prog rock hypnotism, growing soaring choruses from choppier, bass-heavy patterns like you’d hear on a later-era Soen outing or mid-period Haken piece. And in those same ways Charcoal Grace finds a head-bobbing jangle (“The World Breathes Without Me,” “Golem”) and swelling, stadium-sized chorus (“The Stormchaser”). But, reaching a step back to In Contact, Caligula’s Horse decided that Charcoal Grace must also tell a patchwork tale of loss and longing.

“I just wish that you would answer, just once” vocalist Jim Grey drips in a cool-kicking, musical theater fashion, twenty-four minutes into Charcoal Grace during “A World Without”—that’s a long time to wait for the first real lacrimal tickle. Grey spends a good chunk at the front with his gruff croon cut through radio filters (“The World Breathes…”) or pushing a Maynard James Keenan-certified aggressive whisper rap (“Golem,” “Prey”), which reduces the human pull that he’s so capable of finding. With a four-part suite sandwiched in between two ten-minute plus bookends and a handful of thematically related songs, the written and vocal narrative should drop easier story nuggets than it does.2 Pulling on the same swell of vibrant orchestrations, sweeping melodies, to heavy rock crescendos, the central journey still lands with “Give Me Hell” (and reprised intensity on “The Stormchaser”) possessing the same bravado of a young Pain of Salvation affair.3 It just takes a while to get there.

“Feet firm on the mountain with no voice to speak, and nothing left to say” Grey blares with a vulnerable focus for the thunderous closer “Mute,” whose various instrumental decorations display what Caligula’s Horse accomplish best in this sorrowful collection of vignettes: musical cohesion. Save for principle banger “Golem,” primary songwriter and guitarist Sam Vallen flexes his compositional chops throughout recurring motifs that flitter about the introductions of songs to signal that they belong in this Charcoal Grace world. In extended cuts, intro “The World Breathes…” and closer “Mute,” Vallen warps the core melodies to each through the play of lush orchestral backings, carefully placed piano accompaniment, and guest flute arrangement, to allow each recollection to stoke a fiery apex. The atmospheric qualities throughout Charcoal Grace resemble that of an instrumental artist like Plini, so while they may not always feel like a movie with the best dialogue, they do feel like home.

Loving this album could have been easy, but Caligula’s Horse needed to find an outlet over the past few years, just as we all did. Charcoal Grace, in that sense, carries the trademarked humanistic scarring, that hard-to-mask reality that separates this band from its peers. You can’t call this rough around the edges by any means—it’s delicate and elegant and extravagant and almost fluorescent in its brightness. You can’t call this stumbling—it’s assembled and referential and efforted and truly ambitious in its reach. That’s just it. Charcoal Grace reaches. And it grips me a lot—sometimes not at all—sometimes I pull away. It lives, just like you and me, just like those who created it. And, as I often tell myself when I stare into the mirror at the hardest times of this life, I wish it were better.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Inside Out Music | Bandcamp
Websites: caligulashorse.com | facebook.com/caligulashorseband
Releases Worldwide: January 26th, 2024

#2024 #30 #AlternativeRock #AustralianMetal #CaligulaSHorse #CharcoalGrace #Haken #InsideOutMusic #Jan24 #Karnivool #Leprous #PainOfSalvation #Plini #ProgressiveMetal #ProgressiveRock #Review #Reviews #Soen #Tool

Caligula’s Horse – Charcoal Grace Review

By Dolphin Whisperer

You never know which bands are going to pull together seemingly disparate minds, whether it be the starving prog fans who can’t agree on anything or the ever-diverging wiles of our own Angry Metal Overlord and Kronos—the polished professor and the angular dreamer. But more so than any other band in the modern progscape, Caligula’s Horse does just that, bridging the gap of the jittery, sweep-starved guitar lover; the hug-craving, sunset-staring sadboi; the chorus-hook, bravado-stricken empath, all with a brand of progressive metal that’s grown alongside genre titans Haken and Leprous in curious, somewhat convergent ways. But these Aussie alt-rock-leaning proggers continue to paint with broader strokes, cement their identity separately, and avoid heavy djentrification by maintaining a sweeping, cinematic focus. The feels come first on this conceptual carriage.

Prancing like studious steeds, Caligula‘s Horse has drifted down a lane of increasing pleasantness from their rockier roots, each adventure whittling away the screeching, squealing, and shredding tones of their guitar love—the trap of adopting the impact of modern chuggery. However, in that further compressed thump and groove, Caligula’s Horse has managed both to break a Karnivool-ish catchiness into their alt-ered state (Bloom, 2015) and whip it further with heart-fluttering fantasy (In Contact,1 2017). In some ways, then, 2020’s Rise Radiant felt like a misstep, with the band refocusing again on finding a wider-reaching prog rock hypnotism, growing soaring choruses from choppier, bass-heavy patterns like you’d hear on a later-era Soen outing or mid-period Haken piece. And in those same ways Charcoal Grace finds a head-bobbing jangle (“The World Breathes Without Me,” “Golem”) and swelling, stadium-sized chorus (“The Stormchaser”). But, reaching a step back to In Contact, Caligula’s Horse decided that Charcoal Grace must also tell a patchwork tale of loss and longing.

“I just wish that you would answer, just once” vocalist Jim Grey drips in a cool-kicking, musical theater fashion, twenty-four minutes into Charcoal Grace during “A World Without”—that’s a long time to wait for the first real lacrimal tickle. Grey spends a good chunk at the front with his gruff croon cut through radio filters (“The World Breathes…”) or pushing a Maynard James Keenan-certified aggressive whisper rap (“Golem,” “Prey”), which reduces the human pull that he’s so capable of finding. With a four-part suite sandwiched in between two ten-minute plus bookends and a handful of thematically related songs, the written and vocal narrative should drop easier story nuggets than it does.2 Pulling on the same swell of vibrant orchestrations, sweeping melodies, to heavy rock crescendos, the central journey still lands with “Give Me Hell” (and reprised intensity on “The Stormchaser”) possessing the same bravado of a young Pain of Salvation affair.3 It just takes a while to get there.

“Feet firm on the mountain with no voice to speak, and nothing left to say” Grey blares with a vulnerable focus for the thunderous closer “Mute,” whose various instrumental decorations display what Caligula’s Horse accomplish best in this sorrowful collection of vignettes: musical cohesion. Save for principle banger “Golem,” primary songwriter and guitarist Sam Vallen flexes his compositional chops throughout recurring motifs that flitter about the introductions of songs to signal that they belong in this Charcoal Grace world. In extended cuts, intro “The World Breathes…” and closer “Mute,” Vallen warps the core melodies to each through the play of lush orchestral backings, carefully placed piano accompaniment, and guest flute arrangement, to allow each recollection to stoke a fiery apex. The atmospheric qualities throughout Charcoal Grace resemble that of an instrumental artist like Plini, so while they may not always feel like a movie with the best dialogue, they do feel like home.

Loving this album could have been easy, but Caligula’s Horse needed to find an outlet over the past few years, just as we all did. Charcoal Grace, in that sense, carries the trademarked humanistic scarring, that hard-to-mask reality that separates this band from its peers. You can’t call this rough around the edges by any means—it’s delicate and elegant and extravagant and almost fluorescent in its brightness. You can’t call this stumbling—it’s assembled and referential and efforted and truly ambitious in its reach. That’s just it. Charcoal Grace reaches. And it grips me a lot—sometimes not at all—sometimes I pull away. It lives, just like you and me, just like those who created it. And, as I often tell myself when I stare into the mirror at the hardest times of this life, I wish it were better.

Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Inside Out Music | Bandcamp
Websites: caligulashorse.com | facebook.com/caligulashorseband
Releases Worldwide: January 26th, 2024

#2024 #30 #AlternativeRock #AustralianMetal #CaligulaSHorse #CharcoalGrace #Haken #InsideOutMusic #Jan24 #Karnivool #Leprous #PainOfSalvation #Plini #ProgressiveMetal #ProgressiveRock #Review #Reviews #Soen #Tool