Karnivool – In Verses | Progressive Rock Central.com

“In Verses,” is the fourth studio album by Australian progressive rock band Karnivool. It was released on February 6, 2026, through Cymatic Records/Sony Music. It marks their first full-length release in 13 years, following 2013’s “Asymmetry.”

The album was officially announced in September of 2025, following years of anticipation and the release of the single “All It Takes” in 2021 and “Drone” in 2025.

The band released a single, along with a video for “Aozora,” in late 2025, with a music video for “Opal” released in December 2025. The single “Animation” was released in January 2026.

Karnivool is made up of band members: Ian Kenny, on lead vocals; Drew Goddard and Mark Hosking, on guitars; Jon Stockman, on bass, and Steve Judd, on drums.

In support of the album, the band has scheduled acoustic release shows and a major international tour for early 2026, including dates in Europe and the UK.

The album’s chart performance has been amazing! Upon release, “In Verses,” reached #1 on the ARIA Albums Chart, #1 on the Australian Artist Albums Chart, and #1 on the Vinyl Chart, becoming the first Australian #1 album of 2026.

“In Versus,” is described as an atmospheric, “heavy, introspective, and deeply immersive” experience, rather than containing direct, punchy singles like previous records. The album’s theme deals with themes of escapism, human complexity, and personal renewal.

This spectacular and long-awaited album opens with the track, “Ghost.” It opens with keyboards drifting in and out of the soundscape, before the massive bass and guitar riffs join in with the syncopated drum beat. It starts off quiet, but the roar is loud when it arrives! Jon Stockman’s bass playing is one of the sounds that has become a signature sound defining Karnivool. And on “In Versus,:” it is no different. Like Getty Lee or Chris Squire he is absolutely essential to the sound. The dual guitarists do a fantastic job of lighting the soundscape well, themselves. Steve Judd, on drums keeps pace and lights his own fire of recognition, with his drum playing. The other vital piece to the Karnivool puzzle, is Ian Kenny’s unique and band identifying vocal sound. He sings strong lyrics on this song, “Faceless we’ve become. Hopin’ that hope is enough. As the tyranny begins. We await the flood. Sacrifices sung. In verses that roll off the tongue. When the symphony begins. Who is left to sing along?” The theme and character of this album is laid out before you, early on. We, the free, are all fighting for survival against a tyranny of many faces and dimensions. He continues, “Our reflections don’t look the same. There’s somethin’ differing. I hope this precious balancing act. Is worth the pain.” Yes, all of us waiting for the other side to move and take down the dictators that have arisen from our lack of action or voting. Ian Kenny returns, “They sanction all the young. Infecting futures to come. Find their beds and watch ’em burn. Starting fires one by onе.” It is as if the words were ripped off the daily news headlines. He sings, “There’s always a wiser man. Dеvising a wiser plan. And still, we feel nothin’. Like every other day. I wanna know it’s all okay, these days, it’s hard to say. Think I’ll take my leave and run away forever. If it’s all the same to you. When it’s knockin’ at your door, so loud, you can’t ignore it. Flee the lion’s den and leave it all forever!” Finally, the summary to the story, “If it’s all the same to you. Forget the truth, preserve the evidence. It takes a fool to deny what is so evident. Stare at the blackened sun. See what we’ve all become. ‘Cause we don’t feel nothing. Like every other day…” We live in the era of dictators and we have become numb to the oppression, violence, and destruction of our natural world. One of the most powerful songs on this or any other album this year…so far.

“Drone,” grabbed my ears when I first heard the single. The melody and music are some of the best on the album. It has a wonderful bouncy beat set up well by Steve Judd’s drums, and augmented by Jon Stockman’s thumping bass beat. Ian Kenny sings amongst the guitar riffs, “I hear people at home rather than bones. They all seek the one. Promised us all, lo and behold. They all sing along. If there is wonder in your step. I hope it slips away before you fall. In my sleep, my mind plays tricks. These fallacies, they’re tauntin’ me. Please, don’t look down. I wanna stare at the sun ’til it burns out. You won’t save me. ‘Cause your empathy is the enemy.” Then, “I can’t leave it alone now that I know what I’m witnessin’. It’s here to control all that you won’t, so stop listenin’. Rather remove yourself than fake it all from here. Try to stay lucid as you’re shaking off the afterbirth. With eyes wide open.” If only we could ignore it all, and it would all go away…He sings more, “Just the few of us are left. Just the few of us for certain. Nothing new to me, to us. So praying to take it, praying to take it over. I’ve said please, I don’t wanna be rescued now. I wanna stare at the sun ’til it burns out. Don’t blame me. For everything is the enemy.” It does absolutely feel like that sometimes. The search for friends willing to embrace change and lift the world back into common decency again. The need to blind yourself from the realities of the modern world we live in today. So that you don’t have to face what is happening, is strong here.

“Aozora,” opens with that cool ‘boomerang” like sound. A song title meaning the Japanese word for “blue-sky,” or “open air.” Ian Kenny sings, “Here we sit in our camouflage. The same as all the others. Outside, the world just wants to break in. Confusing our philosophies. I know you’re still awake, I feel it too. We seek the answer to a thousand things. That don’t make any sense. It’s time we had a reckoning. It’s ugly but true.” I think he is correct. Something big has got to happen to shake us all out of this complacency. He continues, “The radio is quiet, no signal. Ain’t no life along the wire. We’ve been given false hope. Told what only God knows. We all see what’s going on, more trouble up ahead. A caution for lessons we’ve earned. Are we ever gonna see the side of reason? Led blinded by a sycophantic cause. Now I don’t sleep anymore, I can’t find no remedy. How about you?” Then, he questions us, “If I held your face to a mirror. Would you smile? If I held your head under water. Would you fight or let the lights go out?” A very precise description of the here and now, dominated by news controlled by billionaires and people emersed in social media and video games for diversion. Yes, “Waiting for the great escape. If you ever get to see the outside. Maybe you can send a letter if you like. If that’s alright. Tell me there’s hope within my reach. Tell me what it’s like living life in peace.” Another of the album’s most powerful lyrical statements.

“Animation,” opens quietly with strings and far off orchestration. Almost harp – like string sounds. Then, excellent syncopated drumming and drum sticks. Power – metal lead electric guitars and Ian singing, “Jump off ship and let me feel the fall. Know that I will live, release me. Jump off ship and let me feel the fall. I’ve done nothing wrong. The illusion of hope. When there can be no resolve. We almost had the honesty to lead us to the fall. The hardest part is fear, my friend, we almost had it all. Some of you will, some of you won’t, some of you will get by. Some of you will, some of you won’t, some of you will deny. The illusion of hope. When there can be no resolve. How will we know at all? There’s nothing here that can change. How will we know who we are? There’s nothing here that can change us.” A tough pill to swallow indeed.

“Conversations,” has a bright U2/Oasis sound to it on lead guitars, with drums. Ian sings, “Falling apart, so overwhelmed. Hope is a fated point of view. I’m tryna be patient, tired of waitin’ for things to turn around. Thought I was better now. Not walkin’ alone, my step is off, keep trippin’ up. Still thinkin’ ’bout all of the ways that I fell through. Not showin’ up, not big enough. Admittedly all true. So I’ll place myself in the wings. Where no one can see me. Awaiting the next scene. There, I’ll be standin’, my head in my hands goin’ numb. ‘Cause I hear a voice I’ve been tryin’ to ignore. It’s saying, “This one could have helped you. Could havе led you anywhere you want. This onе could have held you from the fall to come” It’s too late for conversation. It’s only a mountain I’ve been tryna move.” Yes, we all have been trying to remove that mountain.

“Reanimation,” is a 2025 remastered version of the song. It opens with cool synthesizers and orchestrated sound effects. Ian sings, as the bass leads the way, with a great drumming beat, “Feelin’ alone in a crowded place. I have found it hard to believe in. Why we should keep this up. Now that I don’t need you much.
It hurts to be lost when something inside still burns. Who are you? Who are you?
Where are we goin’? If I could have one more day. A minute to turn things ’round again, it might make a difference. Before we meet oblivion” A symphonic instrumental section, opens and closes. One of the best tracks on the album. Full of Pink Floyd – like lead guitar moments.

“All It Takes,” opens with killer lead electric guitar and cosmic keyboards and synths. Ian sings, “Are you close enough. To see what you’ve got yourself in to? Are you close enough. You played the hand that you wanted to? I don’t wanna prey on your honesty. But I can’t excuse your naivety. Are you close enough? Faith, lies, burn after reading. Inferior notions, so quick to reveal. Our hands held high as we follow you down. Are you close enough. To see what you got yourself into? So happy to feel too much. Given this vice here is nothing new. For it’s a cynical cycle. Now run like a rat on a wheel. Pay for the thrill of it, kill for it. Reset the cycle, begin.” Then, a powerful, full electric guitar blitz with bashing drums and bouncing bass scattered throughout.

“Remote Self Control,” is another of my favorite songs on the album. It has a big, bold opening with shredding guitars, bass, and drums. Ian sings, “I’ve seen a cynic come around from a breakdown. Sometimes the trouble’s worth the wounds. Now stretch yourself further than you’ve ever been. Switch it over to remote self-control (And hold on). This transition might be hard to take. And if you’re ready, let it come. You can trust me. Yeah, you will. Yeah, you will get through this. Yeah, you win by default. On remote self-control.” Just wish it was that easy. The best electric guitar and bass playing on the album.

“Opal,” is like the missing ballad that is not included on many Karnivool albums. This song is slow and full of great keyboards and soft drums and strings. Ian’s vocals are also subdued. He sings, “I’m sorry for your loss, please come back to us. All that we’ve been has all come and gone so easily. I don’t wanna be in this fight. When all the plans that we’ve birthed all fold their wings and die. Are you diggin’ deep to find somethin’. You buried long ago. Where sleepin’ giants should lie? You’ve been holdin’ up an idea that’s fatal. These beautiful distractions move. I see your hand, you’re here by choice. You’re drownin’ in the silence of these broken rules. Release the overflow, take it off the edge. Under the will of these chemicals so easily.” Would have been a nice closing song, full of feeling and great melodic music. They even add orchestration to this one. Beautiful piano and synths take us out…

“Salva,” also opens slow. With an almost deep, seated-bass sound. The soundscape is full of keyboards and slow conceptual music. Ian quietly sings, “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. These things happen now. We stray into ruin. Even when all of the signs ahead. Say “What are you doing?” Jon Stockman’s powerful bass chords shine bright here. Ian sings, “Starin’ at my shakin’ hands. Now that I know for real. There’s somebody else in those eyes. Someone who’s scarin’ me. I’m already dead to you. So put down the knife. I think you’ve made enough scars. Your words are barbed wire. Forever running, forever running.” The end almost could have used a bagpipes salute. The sounds that fill the final closing, sound like bagpipes or an electric sax. Almost like a fife and drum salute for the road. Nice.

Karnivool’s “In Verses,” is a heavy, introspective, and deeply immersive experience. The commentary is very real and present, in the nature that many of us in the world can feel the current angst we are all living. The fear, the unknown, the uncaring, the apathetic legions of people who do not engage with each other. It is all here. And at the same time there are many themes of escapism, human complexity, and personal renewal, staring against the modern world we all survive. I think this is as good as my first encounter with Karnivool, “Sound Awake.” If you enjoyed that masterpiece, give “In Versus,” a listen, I think you will hear some similarities and some improvements from that monumental album.

Album Track List: