Karnivool has been my favourite band, tied with Porcupine Tree, since I discovered them on Scuzz back in 2009. I remember seeing the music video for “Set Fire to the Hive” and being obsessed. Their sound, the sight of bees flying out of this man’s mouth, and the interesting, unique, heavy, proggy sound I hadn’t explored massively at that point. Karnivool was the band that got me into this side of metal, and I’m forever grateful for their music and how it’s helped me through some of the darkest and hardest times of my life in the past and continues to do so.
They have such a bountiful conceptual canvas of connotations to accompany their music. I already felt this album was going to be loaded with exactly that and hadn’t been disappointed yet by any of the singles. To say I’d been excited for their new release when every one before has been such a monumentally different sound was the understatement of the past decade… and two years.
“Ghost”
With an intro that bubbles up to the surface, much like the slow releasing tension of awaiting this album’s release, “Ghost” pops into an immediately resonating Karnivool sound. Packing a military seriousness with an unforgivingly raw riff and enough fuzz and buzz to rival a hive of killer bees, Ian Kenny’s signature vocals carry this sailing forward into a beckoning groove that lets us know this album is going to have plenty going on in terms of diversity. The second half of the song only confirms this, with a melodic section to ferry you back from raging waves into calm waters, an effect Karnivool has mastered in terms of effortless sway. The in-your-face, droning guitars act as a herald for the next song, titled “Drone”, which also ends on a punishingly heavy and catchy note.
“Ghost” ends with a riff that made me turn my headphones up full blast and eviscerate whatever was left of my eardrums. This one has already proved to be huge live, but I can’t wait to see it become more of a staple in their sets, as I can see this being a phenomenal intro song played live too. As an album opener, “Ghost” carries a specific kind of responsibility, not to shock, but to reintroduce. What makes it so effective is how naturally it settles into Karnivool’s sound without sounding retrospective. There’s a confidence in the pacing here that suggests they’re a band fully aware of their legacy, yet uninterested in leaning on it for impact. The dynamic shift in the later half doesn’t just feel like a payoff, but a reminder of how fluidly Karnivool has always navigated tension and release. It’s a song that feels less like the beginning of a record and more like stepping back into a current that never really stopped flowing.
“Drone”
“Drone” sways and swaggers into the room with an almost taunting vocal from Ian Kenny. If you’re listening through and you just heard how the previous song ended, you can’t help but smile, as you know what’s coming. You’re then immediately sideswung with a haymaker of a riff before sinking effortlessly back to the calm of Kenny’s vocals spurring you forward. The chorus of this song is ridiculously catchy and not only makes you want to raise your hands in the air with the feeling of freedom it carries, but also do as the man says and “stare at the sun til it burns out” – We do not advise this. The end of this one is utterly silly and seeing it live absolutely ruined the entire room; I don’t think I danced so low to the ground the entire weekend at ArcTanGent, but Jesus, listen to the disgustingly deep groove at the end of this and you’ll see why.
Within the album’s broader structure, “Drone” acts as a physical anchor. A point that keeps the surrounding material grounded. Where much of In Verses favours atmosphere and emotional space, this track reminds you of the band’s ability to hit with force when they choose to. Yet even in that regard, the restraint is masterful, the heaviness feels purposeful rather than overwhelming, though still hitting with that same weight, reinforcing the album’s balance between power and control.
“Aozora”
“Aozora” was an incredible and euphoric experience to see live, and the studio version holds up to the same effect. Probably my favourite from the singles by far. The epic intro doesn’t let up for the entirety of the song, and it carries such a massive resounding energy with it. When describing this one to friends, I’ve often said it’s like multiple crescendos coming together, with connotations of clouds parting to reveal the most beautiful sky you’ve ever seen. That was before I knew the meaning behind it. The song title means “blue sky” in Japanese and the imagery and feeling of that holds strong throughout. There’s such a strong sense of tension and hope, building and exploding into vastness.
It’s another song that really showcases the vision and feeling of the album as a whole and the band, who have always been masters of crafting the imagery of wide-open spaces in the Australian outback, a signature expansive and definitively Aussie sound. COG has been another great band for this kind of sound, for a point of reference. The song ends in all the feelings it’s conjured up coming together in not just a wave, but a whole damn sea of euphoric joy, as you let it crash over your head and surrender to life itself, and everything that comes with it. A very resonant feeling with this one. “Aozora” sits at the emotional heart of In Verses, embodying the album’s recurring themes of release, escape, and clarity. What sets it apart isn’t just its scale, but its patience, the way it allows emotion to expand without rushing toward resolution. There’s a cinematic quality to the arrangement that mirrors the lyrical imagery, making it feel less like a song and more like an environment you inhabit. In the context of Karnivool’s catalogue, it stands alongside their most transportive moments, reinforcing their unique ability to translate internal emotion into vast and vivid, audible landscapes.
“Animation”
“Animation” starts with a beautiful plucking intro, backed by a wailing guitar and then you’re immediately grounded in the dense atmosphere of Jon’s bass and Ian’s vocals. This one feels like a stepping stone and an invitation into the album itself as we approach the halfway point. The bass and guitars then proceed to grab an arm each and fling you mercilessly into a deep water of sound. The second half of this song builds slowly into a chorus that now feels familiar, then throws you overboard again into a storm of clashing guitar and an ominous atmosphere. Ending on an abrupt note, this feels like an open invitation into whatever may come next.
“Animation” functions as a structural hinge within the album, subtly shifting the listener’s relationship with what they’re hearing. Rather than demanding attention through immediacy, it rewards immersion, a quality that becomes increasingly important as In Verses unfolds. The interplay between restraint and eruption here reflects the album’s wider philosophy; that tension doesn’t need to resolve quickly to be effective. This track exemplifies Karnivool’s trust in their audience, inviting listeners to stay present rather than chasing constant peaks.
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“Conversations”
“Conversations” opens up some space for interpretation. This could honestly go anywhere at this point and with this track sitting at eight minutes long, it’s gonna be a long conversation. Luckily, it’s one of those ones that you don’t mind at all; it’s a joy, and you’re just happy to listen. A lot more of a settled pacing to this one, with the drums, guitar and vocals shining through. This one grows into a very comforting, warm sound that honestly at this point in the album feels like being met with a warm hug while you’re waiting and expecting to be punched in the face with those riffs again. Just a really nice surprise and something very fresh sounding.
In terms of its length and pacing, “Conversations” feels intentionally unhurried, embracing duration as part of its identity. Its strength lies in how comfortable it is with space, allowing repetition, texture, and subtle evolution to carry meaning. In a discography often praised for complexity, this track stands out for its emotional accessibility. That sense of calm before impact adds depth to the album’s pacing, making subsequent moments of heaviness land with even greater weight. The last two minutes push for more expansion with a beautiful atmospheric amalgamation and creates a beautiful swaying lullaby-like feeling in the air. It makes you want to stay wherever this stop on the journey is, but alas, you know that aforementioned riff face punch is coming.
“Reanimation”
“Reanimation” begins with a haunting vocal and catchy acoustic backing, something only showcasing the difference of this album once again. I felt this song was a turning point and a bit of an energy shift from what came before. The acoustic backing on this one is gorgeous, and the lyrics hit pretty hard. The groove kicks in, tripping you up, then catching you with a comforting net of bass and Ian’s vocals giving a sense of comfort. Where earlier tracks explore anticipation and openness, this one feels rooted in reassurance and offers a moment of grounding before the album pivots again. The acoustic foundation introduces a fragility that contrasts beautifully with the surrounding material, reinforcing the record’s recurring motif of trust in process rather than outcome.
On my first time hearing it, I felt at this point the album may take another listen through to truly cement these songs in my head but that the feeling itself was so present in each of these songs that they’re going to mean a lot to a lot of people and a lot of the lifelong Karnivool fans. It was here that I really felt like this album is very centered around the lyrics, feelings and the message of each song. The last minute hit me exactly that way. Though knowing what was up next, it was admittedly hard to stay there. Remember that face punch you were waiting for? Well, this song was the comforting feint just before it lands square in your face.
“All it Takes”
I think “All it Takes” is purposefully named, because after hearing that guitar, that’s… well, that’s all it takes. What can I say? URGH. THIS RIFF. YES. It honestly reduces you to this level of thought with how unapologetically, simply awesome it is. I feel like a kid hearing them again for the first time and becoming obsessed. Everything I’d previously mentioned about that expansive, vast sprawling landscape crafted into a punishing guitar tone that has not lost a single bit of the weight it first lashed out with upon being unleashed into the world. My god, this one is a gem. This will definitely be the standout stomper from the album in terms of seeing it live. The lyrics of this one have stuck with me, being glued to my head since I first heard it, never you mind how many times I binged it on repeat, showing it to friends and going “hohohooo!” every time that guitar comes back around, it sticks regardless!
This was absolute chaos to see live and inspires that with every headphone listen too. Possibly impossible to stay still to, the last half of this ushers in utter full flailing insanity, mirroring that of life’s often turbulent times. Placed where it is, it acts as a release valve, where that accumulated tension can finally erupt. Within the album’s narrative, it reconnects In Verses to the band’s past without feeling like a throwback, reinforcing the idea that some ideas don’t age; they just wait for the right moment. The ending of this song is a massive chest puff in the face of whatever the hell else thinks it’s even close to being as groovy, filthy and catchy as this. Dear god, yes.
“Remote Self Control”
Going from raw, utter savage frontal assault via guitar, “Remote Self Control” opens with Steve Judd absolutely annihilating the drums, this man is one of my all-time favourite drummers and always delivers. Immediately forcing your attention and interest, this one perked me right up after the familiar, but always incredible listen of “All it Takes.” It injects unpredictability back into the album at a crucial point, ensuring In Verses never becomes too comfortable. Its sharper edges and restless energy feel deliberately placed, challenging the listener just as they might begin to settle.
I was so intrigued and smiley at the start of this. There may be some Birds of Tokyo influence shining through in some of Ian’s vocals here, particularly the cadences. I’m honestly loving this one. As I write this on my first listen, I find myself going “I love this” about every little surprise round each corner, and there’s a lot. Some of the guitar and effects I’m hearing have a slight reminiscence of Asymmetry at first, but honestly, it’s different enough to standout as such a unique one. The song hadn’t even finished yet before I concluded this would be a favourite on the album, and it just kept giving more and more reasoning behind that. Steve’s drumming doesn’t let up (when does it ever) and carves a flawless path through the dense jungle (it does also sound like that at one point) of sound that is this song. I loved Ian’s vocals on this one; the man ages like a fine wine. I think seeing this live is going to be an incredible time. If previous songs had built a sense of hope, this one grounds you in it. I think every song has left me smiling, but this one hurt my face.
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“Opal”
Ok, maybe too soon to say every song left me smiling… here comes the feel train, next stop, CRYING YOUR LITTLE EYES OUT. Ok, maybe a slight overreaction, but definitely a vibe shift for this one. Karnivool have always managed to close off their albums with a penultimate ride on the emotions express, and this was no exception. The buildup and progression in this song is incredible. The three-minute mark lets loose with a ripping guitar that sits itself atop a throne of your crushed feelings, then takes your hand and pulls you back into a sense of strong self-worth and capability.
Honestly, this album was a bit of an emotional rollercoaster, but I think that’s such a massive standout point of it. It certainly done the trick on me. I think it was maybe lost on me when I first listened to the single while on the move, going about my day, but hearing it after the rest of the album and giving it the presence it deserved just opened it right up and it was like hearing it properly for the first time. Hearing it in full context reframed its emotional weight, transforming it from a standalone statement into a payoff for everything that precedes it. I hadn’t given this one enough attention before, but this particular listen shot it to the top of my list and solidified it as a favourite and well-deserved standout track to end this on. Bravo, you got me again, you brilliant bastards.
“Salva”
I sighed with such relief when I seen “Salva” sitting at eight minutes long. For one, I didn’t want this album to end, but also, I didn’t want them to end on the possibility of a short, Asymmetry style finish which buzzes out with a sample of Gerald Heard. The first lyric “There ain’t no place I’d rather be, but I’ve gotta go, I’ve gotta run away. I’ll carry my heart down to the sea and let the salt dissolve it.” Well, you got me, I thought the last one was the train to feels-ville, but turns out it was just the connecting service. The lyrics in this one are absolutely beautiful, I know it’s one of those ones that’s going to break a few people seeing and feeling it live.
This song at first feels like laying on the beach after a beautiful day, ready for a normal end to the evening, letting the tide wash over you and then, in the last couple of minutes, you’re taken elsewhere, you open your eyes and see a beautiful expansive sky before you. As a closer, “Salva” resists finality. Instead of tying the album neatly together, it leaves space, and in that openness, reinforces In Verses as a chapter completed rather than a story finished. The song ends with a crescendo of crashing sound, and almost bagpipe-like wails send you off toward a hopeful horizon of magnificence. Being Scottish, this sound of what I’d describe as some kind of synthy, sax-fused bagpipes obviously sent me into a spiral of patriotism and had me screaming for freedom at my window. But of course, that’s how we like to end every night over here. Thanks for the extra inspiration though guys.
This album was very unexpected in terms of direction and where it was headed, after the last album and with Karnivool’s style, I don’t think anyone could predict, but I think it’ll land really well and age even better. It feels like an album of growth, and finding your place in the world, just as Karnivool has refined their sound into something truly special. One thing I’ve always said about Karnivool is they’re a band you can listen back to a song you’ve heard a lot previously and hear something entirely new happening and go “Oh my god, I’ve never noticed that before, that’s beautiful!” and it gives you a reinvigorated appreciation and a whole new perspective on the song or album as a whole.
I’d say the longer songs will maybe take a few folks by surprise, and there’ll be some favourites emerging through multiple listens and some that initially make such an impression that you don’t need another listen to know you love it. I think that seeing some more of this live, once it’s a bit more established, will be a true testament to the fact that Karnivool has always been able to sculpt something magnificent, meaningful and truly unique. The sound they’ve found this time is truly a beautiful one, and I feel like this is not a settling point but more an open-ended invitation into whatever the hell they manage to cook up next. I was not disappointed at all and immediately let the album start playing again (and again) after it ended, the replay ability instantly proving itself and standing strong.
These guys are not just titans of the genre, but really define it in their own way to a point you can’t help but smile with awe, wonder and inspiration. You feel like there’s some more light and beauty in this world, which, in current times, is something we need more than ever. Taken as a whole, In Verses feels like an album shaped by time rather than urgency. It doesn’t chase the towering immediacy of Sound Awake or the confrontational edge of Asymmetry, instead carving its own space, defined by patience, emotional clarity, and cohesion. The result is an album that rewards repeat listening, revealing new details and emotional nuances with each return. In an era dominated by rapid releases and fleeting attention, Karnivool’s commitment to depth and longevity is what makes this truly stand out in a rare way that only comes around once in a while.
To turn this quote backward and on its head, “They’re not the band we deserve, but they’re the band we need right now.” This is eternally applicable. This was well worth the wait; they’ve truly made the most of the time taken to create something really special that stands on its own two feet, challenges and inspires you to do something. A feeling I’ve always felt very strongly from their previous releases that remains true, and I expect will continue to do so for years to come. Bravo guys.
In Verses is out on February 6th
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