Tony Iommi – From The Dark Album Review

How's it going, everyone? To be honest, things have been going a little downhill for me over the past month. I think I'm going through a phase where I take things a little too personally and perhaps complain a bit more than I should. Throughout my 36 years on this planet (yes, I know, some would say I'm still only at the beginning of the road), there have been times when I've struggled to keep myself going, caught somewhere between the confidence and insecurity that come with having to deal with so many things on my own. Thousands of people have come and gone from my life along the way, but none of them have ever given me that sense of security I find in music. Considering that listening to music is pretty much the only thing I've had left after all the misfortunes I've experienced, it shouldn't come as much of a surprise that the sounds I've heard most throughout my life are vocals, guitars and drums. Yes, I'm aware this is a rather personal way to begin a review, but the work of the man I'm writing about today speaks directly to the most sensitive parts of my musical sensibilities. It's difficult to put into words just how grateful I am to him for having accompanied me through at least 25 of the 56 years of his musical journey.

Arriving 21 years after Tony Iommi's 2005 album Fused, From The Dark is also one of his most substantial full-length projects since Black Sabbath's 2013 album 13. Released through BMG, this solo effort marks a significant return in Iommi's career. After all, I find it hard to believe I could approach an album released by a man who has been making music for 56 years and is now 78 with a purely critical mindset, leaving my own emotions out of the equation. Besides, if we're not going to say a few words about an album that has struck such a deep chord with me during one of the worst periods of my life, when are we supposed to?

Speaking about the making of the album, Iommi says: “It was an album we really enjoyed making. We're not trying to prove anything to anyone; we've simply put together a great, straight-up rock album!” I couldn't agree more. That attitude runs throughout the record, both in the overall character of the songs and in the musicians' performances. Iommi brings his trademark heavy, dark and crushing guitar riffs together with modern tones and production techniques without compromising his musical identity one bit. Meanwhile, Jørn Lande's impressive vocal range and powerful delivery, moving between classic rock and heavy metal, bring both a ferocious edge and remarkable fluidity to the songs' dark atmosphere.

Let me make a little confession here. From this point on, I'll be referring to Iommi simply as Dad. Frankly, I can't imagine calling him anything else. Anyway, we learn that, during the early stages of this album, Dad had considered working with former Black Sabbath vocalist Tony Martin instead of Jørn Lande. According to Martin's own statements, Iommi sent him new song ideas and demo material he had been working on, and Martin recorded vocals after working on those sketches. However, once the demos were completed, Dad decided to move forward with Lande rather than Martin, in line with the album's overall musical vision and the kind of vocal character he was looking for.

Having listened to the album, I think this was a very sound decision musically. Lande is a vocalist I hold in particularly high regard within the metal world, having delivered one strong performance after another over the years. There are plenty of moments throughout From The Dark that deserve a tip of the hat, too. That said, I can't simply put aside my affection for Tony Martin's era in Black Sabbath. His performances on Headless Cross and Tyr, two of my favourite Sabbath albums, already demonstrate what a special vocalist he is. Martin's distinctive delivery gave the band an occult and epic atmosphere, while the Scandinavian mythology theme on Tyr, its keyboard arrangements and heavy guitar tones represent one of Black Sabbath's most musically mature periods.

Of course, I can't help wondering what this album might have sounded like had it been recorded and released with Tony Martin in some parallel universe. I wish we could get the chance to hear those demos one day. Still, the album we have deserves its due. Lande has embraced this project so wholeheartedly that, at times, his DIO-esque vocal tone brings back the grand, dark atmosphere of the Dehumanizer and Mob Rules eras. And he manages to do so without living in the shadow of the past, retaining his own identity in the process.

Now, back to Dad. Whether it's the imposing riffs or the fluid, silky solos that run throughout From The Dark, it's hard to find a single wasted note. Whether on tracks like “Black Times” and “Beyond The Dead”, where the doom atmosphere takes centre stage, or on songs like “World Alone” and “Return of the Arbalist”, which lean more directly into rock, Iommi remains firmly in control of both his signature tone and the album's overall atmosphere. Don't expect notes played for show, unnecessarily extended passages or little flourishes thrown in simply to demonstrate virtuosity. Dad has spent well over half a century proving time and again that he can build an entire atmosphere around a single riff. It's the same story here.

From the moment the massive opening of “Over The Violent Sun” kicks in, it's impossible not to smile when you hear that guitar. It brings back that indescribable, instinctive excitement that takes hold of us when we first discover metal music. Sometimes you don't need pages of writing to explain just how much a guitar tone can mean to someone's life; a few notes are enough. The epic and gothic touches in “Beyond The Dead” also capture that dark atmosphere that has been at the heart of Black Sabbath's music since the very beginning. Here, Iommi's riffs are more than just the driving force behind the songs; they are the defining element of the entire album.

The closing track, “Legacy”, is powerful enough to stand alongside some of the finest work Dad has produced throughout his long career. An absolute monster! I can't explain the effect this song has had on me in purely musical terms. Perhaps it's connected to the period I'm going through, or perhaps it has brought back certain feelings I'd forgotten for a while. All I know is that the last time an album affected me this deeply was with At The Gates' The Ghost of a Future Dead. I've probably heard Tomas “Tompa” Lindberg's voice more often throughout my life than that of my own biological father. I guess Tony Dad's guitars will take second place on that list.

Sometimes, even the people we feel closest to aren't there when we need them. Family, friends, people who come and go from our lives… Everyone has their own path to follow and their own problems to deal with. But music is always there. It doesn't ask what you're going through or expect you to explain why you feel the way you do. A riff kicks in, the drums start pounding, and before you know it, the things you've been carrying inside for so long begin to make a little more sense. Perhaps that's exactly what makes music a safe haven.

If Dad can still pick up his guitar at 78 and make us feel all these things, there's really not much more to say. For me, From The Dark is more than just a powerful rock album; it's yet another reminder of how deeply music can embed itself in someone's life. We can never thank the men who gave us this music enough, can we?