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Tony Iommi – From The Dark
Over The Violent Sun
Black Times
World Alone
Beyond The Dead
Stormwatcher
Death Wake
Return Of The Arbalist
Legacy
Fifteen months on from Black Sabbath‘s historic Back To The Beginning show in Birmingham, Tony Iommi emerged with his first solo album since 2005’s Fused.
The album finds Iommi joined by frontman Jørn Lande, the Norwegian singer who joined Sabbath spinoff Heaven and Hell in paying tribute to the then recently-departed Ronnie James Dio at the UK’s High Voltage festival in 2010. Completing the lineup are bassist Becky Baldwin, drummer Karl Brazil and longtime ally keyboardist Mike Exeter, who also co-produced the album.
Throughout, Iommi reminds us why that “Riff Lord” moniker isn’t seriously challenged. Over The Violent Sun is a pedal-to-the-metal opener, while World Alone is powered by a brutal boogie. Beyond The Dead benefits from a marvellously funereal tempo, and Stormwatcher chugs along on a superior riff. It’s business as usual: Tension, menace, and riffs.
“The thing is, I don’t have to do this,” Iommi told Classic Rock. “It’s not about the money, because we don’t need the money. But this… this is what I do. I just can’t get away from it. I have things I want to say.”
Every week, Album of the Week Club listens to and discusses the album in question, votes on how good it is, and publishes our findings, with the aim of giving people reliable reviews and the wider rock community the chance to contribute.
Other albums released in October 2026
- Amon Amarth – The Allfather Awakens
- Butcher Babies – Nightbloom
- Kavus Torabi – October by Name
- Lenny Kaye – Riot on Oxford Street
- Sponge – Recuerda Tu Muerte
- Twin Atlantic – Separation from the Animals
- Enuff Z’Nuff – Live at the Whisky A Go-Go
- Graveyard – Fever
- Greta Van Fleet – Palace for the People
- The Pineapple Thief – Far and Wide
- Sheryl Crow – Pick You Up
- Twin Temple – Doomed Lovers
- Devin Townsend – Harmonic Dharma
- Fontaines D.C. – Dopamine Chamber
- Richard Thompson – Hippies, Thugs and Heroes
- Rick Wakeman – Return to the Red Planet
- Kid Rock – Halfway 2 Jesus
- Bernie Taupin – The Sea Has No Mercy
- Brothers Osborne – Watertown
- The Flower Kings – Hope
- Manic Street Preachers – The Holy Bible Live
- Polyphia – Be Not Afraid
- Wolves In The Throne Room – Estuary
- Ministry – Hate to Go – Take Out or Delivery
- Nickelback – Everything Under The Sun
What they said…
“The rhythm section of bassist Becky Baldwin (Mercyful Fate) and journeyman session drummer Karl Brazil adds little but at least doesn’t detract from Iommi and Lande’s interplay. The only real letdown is that the guest leads from Queen’s Brian May on Death Wake feel anonymous. We might as well have gotten one more solo out of Iommi instead.” (Pitchfork)
“This is a splendid album, brilliantly performed and recorded; it is forward-looking and completely able to hold its own in the contemporary metal world. It has of course been subject to much anticipation, and it can be said convincingly that it doesn’t disappoint.” (Louder Than War)
“What makes From The Dark even more interesting, though, is that it isn’t simply an exercise in nostalgia. Yes, the riffs are unmistakable, the atmosphere is often wonderfully oppressive, and there are moments when you could close your eyes and imagine Ronnie James Dio stepping up to the microphone. But there’s something else here too. Something reflective, almost philosophical, running through these eight songs.” (The Rockpit)
What you said…
Evan Sanders: Listening to the start of this album was an immediate pleasure, as the opening three songs hearkened back to Dio-era Black Sabbath. Iommi’s guitar tones are the dark minor chords of classic Sabbath, the lyrics are filled with doom, and Jorn’s growling voice is a stand-in for Dio. Some of the guitar riffs remind me of songs such as Hand Of Doom and War Pigs. The album lost steam in the next three songs, before picking up for the final two, Return of the Arbalist and Legacy.
It’s satisfying to hear a solid solo effort from Iommi, since when I went back to listen to past efforts, it seems that he never quite found the balance of lyrics, guitar riffs, and dark tone that put him on the guitar pantheon with Sabbath. If this turns out to be a farewell, he indeed has raised his legacy. 7/10.
Andrew Cumming: As someone who grew up in the 80s, this is quite a familiar and nostalgic feeling. My first “new” Black Sabbath album was Seventh Star. A Black Sabbath album? Well, not really. Iommi’s iconic riffs, of course and a flavour-of-the-month vocalist (sorry, Glenn Hughes). It was the follow-up to Born Again, chock full of Iommi riffs and Ian Gillan on vocals. And the predecessor to Eternal Idol, this time with Tony Martin on vocals and a chock load of Iommi riffs.
So an album of Iommi and a random vocalist feels very familiar and nostalgic. The debate raged at the time about whether this amounted to Black Sabbath. A valid and sensible debate, and the answer really is no. Were they good albums? Well, some were, some weren’t. If Iommi had followed the path of, say, Slash, and released the albums under his own name, I think there would be a lot more affection for those records.
And the same applies here. It’s a good record. Jorn Lande does a good job as a vocalist, and Iommi brings the riffs. There are even echoes of Ronnie Dio in Lande’s vocals to continue the familiar vibe. It’s a good listen and a decent record. It probably lacks genuine standout tracks. But nothing’s a disaster. Iommi owes nobody anything and has nothing to prove. If he wants to release an album, good on him. I’m in.
Chris Downie: Without wishing to gloss over the incredible history of the man’s musical pedigree, there is little if anything that can be said about Tony Iommi’s legacy that hasn’t already been said, multiple times. The burning question here is whether this is a late-career gem on par with the RJD swansong The Devil You Know, or a forgettable ‘diehards only’ endeavour akin to Black Sabbath’s 13. Thankfully, it’s the former.
Many fans of contemporary metal were enthused when news broke that Jorn Lande was recruited to front Iommi’s latest solo project, given his hugely impressive CV (Ark, Masterplan, Avantasia, to name just a few), and he doesn’t disappoint here. Renowned for his Coverdale-style melodic hard rock inflexions, he brings a melodic touch to an otherwise doomy album that, musically speaking, sits somewhere between the criminally underrated Tony Martin era of Sabbath and the aforementioned final curtain call with Dio.
That said, the whole band shines here; Becky Baldwin, fresh from her stint with Mercyful Fate, is in impressive form, while Karl Brazil provides a performance Vinny Appice would have been proud of.
From the impressive opener of Over the Violent Sun to the impact of closing track Legacy, this is an album that once again affirms Iommi’s status as perhaps, along with the late Malcolm Young, the greatest riffmaster in rock and metal history.
If there’s only one criticism at this stage, it’s the mysterious exclusion of the two instrumental tracks from the main album (Scent of Dark and Deified are available on the limited edition CD), as they are solid musical workouts, the former somewhat reminiscent of Supertzar from Sabbath’s iconic Sabotage album. The inclusion of one, or even both, would have added a change in pace to an otherwise fairly uniform album. Minor gripes aside, this is a fine effort from a man with nothing left to prove, but does so regardless. 8.5/10
Gary Claydon: This is what the young people of today call ‘a proper banger’. Jorn Lande invokes Heaven & Hell-era Sabbath without descending into RJD mimicry and a special mention to Becky Baldwin, whom I’ve watched with various bands over several years and who has now developed into a seriously good bassist. But, of course, this is all about the great man and is a fine addition to the Iommi legacy.
Martin Cross: Heavy riffs and drums all the way through, Dio and Bruce in my head with the vocals. No tracks really stand out; actually, all sound the same. A lot of 8/9s in the reviews, but 6 from me.
Mike Canoe: No surprises here. It sounds like a Black Sabbath album with a new lead singer. And why not? Tony Iommi has been the only consistent member of Sabbath for the past 40 years. But while each new Ozzy release was treated like an event, a new release from Sabbath felt like the increasingly futile flogging of a horse that refused to die.
Odds are that most of those albums are better than you remembered or realised, especially in terms of how much they sound like part of the modern metal scape. From the Dark fits well into the greater Sabbath timeline, albeit with the cleaner and sharper production of now. Jorn Lande has a classic metal voice with just enough grit to not sound too clean. If there’s a fault with the album, it’s that the songs tend to ride the same heavy mid-tempo groove, but that’s Iommi (and Sabbath) for you.
Philip Qvist: It’s not often that we get to review a current album, but when we do, they tend to be pretty special releases, and From The Dark is no exception. But then again, it should come as no surprise to anybody when the artist is one of Rock’s Greats, who practically gave heavy metal to the world.
On From The Dark, Tony Iommi has proved that there is life after Ozzy and Black Sabbath, while confirming that at age 78 he is still the riff master. Needless to say, his guitar playing dominates the album.
Brian May makes a cameo appearance on Death Wake, while singer and lyricist Jorn Lande is more than up to the task, even if he is a singer who needs to develop his own identity. The rhythm section of Becky Baldwin and Karl Brazil does a more than competent job, without drowning out the guitars.
My picks were Over The Violent Sun, Stormwatcher and Legacy, but in truth the eight-song, 41-minute-long album was definitely an enjoyable listen from start to finish.
Yes, I agree, no new rock boundaries were set here, but hey, this is Tony Iommi that we are talking about here. He doesn’t have to prove anything to the world, but thankfully he has still produced a goodie here. I am definitely considering buying this album. My initial ranking is 8, but it could increase after a few spins.
Nick Tedds: Make no mistake, From The Dark is the heavy, doom-laden album that you would expect and most likely want to hear from the indisputable master. Opening track Over The Violent Sun is instantly recognisable Iommi, all mid-paced riffs of gargantuan stature. It’s a strong start and very easy to imagine being directly born out of Sabbath’s Dio period.
Black Times follows with an atmospheric and moody beginning prior to suddenly shifting gear, whilst World Alone sports impressive solos and nightmarish lyrics. And so it goes on… and whereas Iommi’s guitar playing is obviously the key feature throughout the album, Jorn Lande’s soaring vocals should not be underestimated.
Greg Schwepe: Being a pretty decent Sabbath fan, I’m surprised I’ve never checked out any of Tony Iommi’s solo or side projects. I’ve had some favourite bands where I’ve grabbed each and every one of the extracurricular releases of every member. And then some favourite bands where I’ve had no interest at all in the solo/side projects of any of the band members. So Mr Iommi, we’re going in with no preconceived notions!
And of course, I will be curious to see how many times the word “riff” (there’s one) is used in all the reviews this week. Because when you’re the architect of the heavy metal guitar sound, that’s your calling card.
I found Jorn’s vocals to be eerily close to Ronnie James Dio’s on the Heaven & Hell release The Devil You Know.” But with a little more gravely growl. But the riffs (that’s two) were there in every song.
To be honest, while I liked the first five tracks (you can’t argue with that guitar tone), it wasn’t until Death Wake that the album really, really grabbed me. That track, Return of the Arbalist, and Legacy are the ones that finally got my attention and stuck with me.
Am I glad I’m still able to hear that guitar? Absolutely. Is it going to make me forget Vol IV or Heaven and Hell? No, but I guess I should be happy to hear those metallic riffs still (and that’s three). 7 out of 10.
Nigel Mawdsley: By my own admission, I’m not a massive fan of Black Sabbath, but I can appreciate their – and Tony Iommi’s – body of work over the decades. Black Sabbath fans should love this album with its excellent musicianship and production. It would be churlish of me to give this album less than an 8.
Mark Herrington: Iommi has produced a solid album in From the Dark that treads in familiar territory and echoes the style of the Dio years of Sabbath and the Heaven and Hell group.
For a legend who is nearly 80, has been performing for over 60 years, and with all that has transpired recently, Iommi has great tenacity and has delivered a satisfying slab of dark, doomy and varied songs, with his characteristic lead and riffing. It easily sits alongside Dehumanizer and Devil You Know, but perhaps not as lofty as Mob Rules and Heaven and Hell.
There is a familiarity to it, but it has its own character too. I’ve listened to it four or five times over the weekend since its release, and it definitely grows on you with repeated plays.
The lead singer, Jorn Lande, has all the vocal theatrics of Dio, but deftly avoids mimicry, and instead has far more of the gravel of Coverdale and Dickinson. Many of the songs, which Lande co -wrote, have their own memorable lyrical elements.
So, to the songs. Opener Over the Violent Sun’s bludgeoning riffing sets the tone for the album, raising a smile when Iommi’s anticipated solo starts. Black Times has an air of the original Sabbath, with mood changes throughout and a doomy pace. World Alone has a great addictive riff accompanied by immediate lead phrases; can’t get this one out of my head.
Beyond The Dead is another track with earworm lyrics, a sing-along, almost Nordic battle hymn. Stormwatcher is a hark back to earlier songs in this style with great soloing. Death Wake has some of Lande’s best vocals with memorable song sections, and even a guest solo from Brian May. Return of the Arbalist (a medieval heavy-duty crossbow) is a metal song of history and battle. Legacy is a great brooding song to close the album, a real highlight.
Overall, an easy 8. This is a satisfying album that will probably grow on me even more over time.
John Davidson: By Heaven and Heck, Tony Iommi has returned, not from the dead perhaps but from a musical limbo that stretches back 13 years to Black Sabbath’s final album with Ozzy Osbourne (coincidentally called 13).
From The Dark sees Iommi collaborate with Jorn Lande, who is a decent singer in the RJD model, that I know only from his work with power metal operatic collective Avantasia. Jorn’s phrasing drifts between Dio, Bruce Dickinson, Rus Allen and David Coverdale’s at times – all of whom are excellent singers – but I’d have preferred someone with a bit of identity rather than a chameleon.
The album itself leans more towards the heavy, powerful metal end of Iommi’s oeuvre. It’s largely slow, grinding riffs with melodic vocals, but it’s not ponderous, with hints of orchestration and choral arrangements in the background. My only criticism really is that it lacks a bit of light and shade.
The bass and drums are perfectly fine, but the bass in particular seems overwhelmed by the layered guitars. Standout tracks are the opener Over the Violent Sun and Stormwatcher. The solo in Legacy lifts it above the pack, too. Overall, I’d give this a 7 if it wasn’t Tony Iommi at the helm. Might stretch to an 8 with repeated listens.
Adam Ranger: Life after Sabbath? Life after Ozzy? There’s certainly life in Iommi yet! This album feels like a proper band effort and has only one guest appearance (Brian May on Death Wake.)
Vocalist Jorn Lande is something like a cross between Dio and Dickinson, with more of a low-end growl, and generally does a great job (he also co-wrote the songs with Iommi)
Reviewing a new release is novel for this group, but If Tony Iommi does not qualify as Classic Rock, not many will! You don’t get anything new. Dark riffs, great solos, brooding build-ups. But hey, Iommi invented this sort of music, so you can’t argue with it at all.
A good album with some really great tracks. Highlights for me are Over The Violent Sun, World Alone and Legacy. Legacy has an interesting lyrical theme about leaving your mark and moving on. If this is Iommi’s last record, it will be a very good legacy indeed.
Final score: 7.57 (82 votes cast, total score 621)
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