Tony Iommi – From The Dark (Album Review)
Release date: 23 October 2026
Record label: BMG
The Riff Doctor's Score: (10/10)
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Diagnosis
The godfather of heavy metal returns after two decades with a masterclass in monstrous riffs, sinister atmosphere and old-school metal brilliance.
Best Tracks: World Alone, Black Times, Over The Violent Sun, Legacy, Stormwatcher.
Deep Cuts: Return Of The Arbalist, Beyond The Dead, Death Wake.
The Full Review
More than half a century after those first terrifying Black Sabbath riffs changed music forever, Tony Iommi is still finding ways to make six strings sound like the end of the world. With From The Dark, his first proper solo album in 21 years, the legendary guitarist is back doing what he does best, and despite the criminally short eight-song tracklist, there's plenty to get excited about.
Following Black Sabbath's emotional farewell in Birmingham last year that I was lucky enough to be at, and the heartbreaking loss of Ozzy Osbourne, there's inevitably a little extra weight surrounding this release. But rather than dwell entirely on the past, Iommi has surrounded himself with some seriously talented musicians and put together eight tracks that celebrate everything that made him such an influential figure in the first place. Norwegian powerhouse Jørn Lande handles the vocals, as well as writing the lyrics, while the incredible Becky Baldwin and Karl Brazil provide the bass and drums respectively, and that's a pretty formidable line-up.
Opening track "Over The Violent Sun" wastes no time establishing the mood, with the sort of down-tuned guitar work that has become Iommi's calling card. There's something wonderfully reassuring about the idea that, even at 78, he can still conjure up riffs that sound as though they've been dragged kicking and screaming from the depths of hell. Lande's powerful, theatrical delivery is an ideal match, bringing more than a little of that classic Ronnie James Dio spirit to proceedings.
"Black Times" is an instant classic, as it leans further into the darker, doomier side of Iommi's songwriting, and Baldwin's pulsing basslines really shine here as she channels her inner Geezer Butler, while lead single "World Alone" picks up the pace considerably. Driven by a relentless barrage of riffs, it manages to sound unmistakably like Tony Iommi without feeling like a tired rehash of something he recorded forty years ago. There's a real energy to it, and Lande delivers the sort of commanding vocal performance that makes you wonder why these two haven't worked together more extensively before.
Things become considerably more sinister with "Beyond The Dead", which brings orchestral touches into the equation alongside a slower, more imposing guitar approach. It's an interesting contrast to the more metallic assault elsewhere, demonstrating that Iommi's greatest weapon has never simply been heaviness, but knowing exactly when to hold back and let a riff breathe. He's always talked in interviews about light and shade, and this album has a wonderful balance of the two.
Then there's "Stormwatcher", another of the album's early singles and arguably one of the strongest demonstrations of what this partnership can achieve. It's dark, dramatic and positively dripping with atmosphere, with a particularly menacing guitar sound that recalls the Dio-fronted Sabbath years. It's difficult not to hear shades of Heaven And Hell and Mob Rules here, although the modern production gives everything considerably more punch. Throughout the album, both his riffs and solos are as volcanic and powerful as ever.
One of the album's most intriguing moments comes with "Death Wake", which features a guest guitar solo from Queen legend Brian May. It's a fascinating combination on paper: two guitarists with instantly recognisable styles, both responsible for some of rock's most iconic moments. This collaboration is something genuinely beautiful and worthwhile, with May's distinctive melodic style providing a contrast to Iommi's darker, more menacing playing.
As the album approaches its conclusion, "Return Of The Arbalist" brings back the aggression like a brick to the face before the seven-minute "Legacy" takes things into suitably epic territory with glorious guitar work. It's a fitting title for the closing track, and if there's one musician who has earned the right to reflect on his legacy, it's Tony Iommi.
Anybody expecting Iommi to experiment will be sorely disappointed. This is an album with both feet planted firmly in his comfort zone. Not that that's a problem; does anybody really want Tony Iommi to reinvent himself at this stage? Sometimes you just want the Riffmaster General to plug in his guitar, turn everything up and remind everybody why he's the godfather in the first place.
From The Dark does exactly that. It's a celebration of the almighty riff, backed by musicians who clearly understand the significance of the man they're playing alongside. More importantly, Iommi's enthusiasm for creating heavy music remains every bit as strong as his reputation.
After everything that's happened surrounding Black Sabbath in recent years, it's encouraging to see him continuing to look forward rather than simply living off past glories. The darkness might have followed Tony Iommi throughout his career, but thankfully, there's still plenty of fire burning inside it. I can only hope this isn't a one-off; maybe some live shows are in the pipeline, or another album in the not-too-distant future.
This lineup is too good to just have one album. I'm being greedy, but I need more of this already.
From The Dark is a monumental return from one of heavy metal's true architects, packed with crushing riffs, towering vocals and the unmistakable sound of a man who helped create an entire genre.
An essential album for any self-respecting metalhead and my album of the year.
Disclaimer: I love Black Sabbath, and it goes beyond the music itself. There’s something about those dark, heavy riffs and Ozzy’s unmistakable voice that never gets old. Tracks like "Into the Void," "Hand of Doom," and "A National Acrobat" remind me just how special they were. Sabbath had a sound and atmosphere nobody else could quite capture, and I've loved every era of the band. I've recently got myself a black Epiphone SG. There's a lot to like about the Ronnie James Dio and Tony Martin records as well, and I've always thought that as long as Iommi is playing guitar, it's still Sabbath.
Jack Merry for The Riff Collective
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