Album Review: Kamelot - Dark Asylum (Napalm Records, 2026)
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Written: 20th August 2026
Kamelot have long since established themselves as one of the most enduring names in symphonic metal. Fourteen studio albums into their career, the band's reputation is secure, with the Roy Khan era in particular producing several albums that I continue to hold in especially high regard. Tommy Karevik's tenure also began in impressive fashion with Silverthorn, but while Haven, The Shadow Theory and The Awakening all contained moments of genuine quality, none quite matched the consistency of that release. As such, Dark Asylum arrives with something to prove.
Sanctorium – which as fans might expect is a short instrumental – opens the album in mysterious fashion complete with a spoken word section from a female voice. We are prisoners / In a world of our own creation. Setting the scene, it makes use of deep synths and typically grandiose orchestrations that give the illusion of walking into a vast building, which draws us into the album’s setting.
Upon release, the single Ashen World split the fanbase somewhat. There is no doubt that Tommy Karevik is an extremely capable vocalist and he turns in an impressive performance here. There are moments that are more reminiscent of his time with Seventh Wonder, with Karevik sounding liberated from the more measured approach that has characterised much of his recent work with Kamelot. While Ignacia Fernández contributes to the song's atmosphere, her appearance is sufficiently subtle that it serves more as a textural enhancement than a defining feature. Lyrically, the song introduces a protagonist searching for meaning amidst a world consumed by darkness and disillusionment. Karevik adds, “It's a deep dive into the topography of the human mind, exploring its valleys, peaks, and the void in between. It's about breaking free from the limiting beliefs that hold us captive and creating a new reality that allows us to expand and realize our full potential.” Kamelot have proved many times in the past that they know how to write a hook and, while Ashen World does not initially stand out in the way some of the band's most celebrated material does, it works increasingly well within the context of the album, with its strengths slowly becoming more apparent over repeated listens.
The title track follows and immediately proves a more engaging proposition. There is a pleasing contrast between the darker, staccato-driven verses and an anthemic chorus that, although undeniably glossy, proves surprisingly difficult to shake. At this point in the narrative, the protagonist enters RavenHill and we are introduced to the album’s central idea that truth can be found by confronting our inner struggles. Through mirror cracks I see the flame / Of who I was before the shame / Released the tears I’ve tried to hide / So I can heal from deep inside. There is variety within the song with a fluid, melodic solo from Youngblood that leads to Oliver Palotai’s own contribution which includes delicate piano bridges.
Sanctuary is a mid-paced song that once again features Ignacia Fernández, alongside Clémentine Delauney of Visions of Atlantis. Their involvement adds further variety to the arrangement and, while Kamelot's use of guest vocalists is hardly a new development, this is arguably one of the album's more successful examples of how effective that approach can be. Fernández's harsher vocals provide an effective counterpoint to Delauney's more melodic delivery, creating a broader emotional range and adding genuine character to the track. The song also finds the band making intelligent use of dynamics, gradually building from its more restrained opening passages towards a suitably majestic conclusion, whilst Thomas Youngblood contributes an impressive guitar solo. The chorus, however, does not quite capitalise on the song's strengths, proving less striking than the surrounding arrangement.
Following the superfluous forty-five second instrumental Nocte Veritas, which contributes nothing beyond maintaining the album's atmosphere, One Last Masquerade – which benefits from a contribution from Tobias Sammet - emerges as a contender for my favourite track on Dark Asylum. There are moments here that hint at the spectral elegance and theatrical drama that characterised much of Kamelot's earlier work, particularly during the verses, while the arrangement feels noticeably more expansive than much of what has preceded it. Tommy Karevik delivers one of his most convincing performances on the album, fully inhabiting the role of a protagonist being encouraged to abandon the masks and personas behind which they have hidden for so long and confront their authentic self. Meanwhile, the interplay between Thomas Youngblood and Oliver Palotai lends additional weight. More than any of the material heard thus far, One Last Masquerade provides a welcome indication of what Dark Asylum is capable of when its various strengths come together successfully.
Following the cinematic verve of One Last Masquerade comes Ivy, My Dear, the central ballad. It provides poignant passages, exploring themes of love, memory and separation through the form of a deeply personal letter. I imagine us here together / Relief for this cavernous heart / Ink on the edge of a feather / And though we are oceans apart. Delicate acoustic guitar flourishes lend the song an understated charm, while Sean Tibbetts’ bass is afforded greater prominence than during many of the album's more symphonic and bombastic passages. There is also a pastoral, swaying quality to the arrangement that conjures images of the protagonist and Ivy sharing one final dance, adding further warmth. Fans of Kamelot's more reflective side are likely to find much to appreciate here, particularly as the song briefly allows the listener to step away from the shadowed corridors of RavenHill and the psychological turmoil that dominates much of the album.
Godlike Alchemy, for me at least, is a more convincing single than Ashen World and feels rather more representative of what Dark Asylum has to offer. Again, Tommy Karevik sounds willing to stretch himself a little further, delivering a performance that possesses more of the flair and expressive range that first drew many listeners to his work. In Karevik's opinion, it is also the song that best captures the overarching theme of Dark Asylum. “What if you don't need to look outside of yourself to find peace and happiness... What if you already possess the power you need to heal and create the reality you want to see? What if we are all magical, powerful beings with unlimited potential? It's a mind boggling thought...” Built around some interesting rhythmic structures and effective stop-start passages that add a welcome sense of drama, the song succeeds in balancing accessibility with enough individuality to hold the attention. As a slight aside, the accompanying video has attracted some criticism due to its use of AI-generated imagery, fuelling a debate that continues to rage.
As the album progresses, The Sleeping Mind (Orphic Paradigm), Kaleidoscope and Enigma (Think Of Me) continue to move the narrative forwards. While none substantially expands upon themes already introduced, all three help reinforce the album's exploration of awakening, self-discovery, memory and transformation. Musically, they remain comfortably within Kamelot's established parameters, although The Sleeping Mind (Orphic Paradigm) leaves the stronger impression and contains my favourite guitar solo on the album. None is likely to feature prominently in discussions of the album's highlights, but each is a solid composition that helps maintain the flow and cohesion of the broader work.
Named after the mythological prophetess cursed to know the truth without being believed, Cassandra's Disease vies with One Last Masquerade as my favourite piece on Dark Asylum. Lyrically, it captures the protagonist's increasingly fragile grip on reality, as truth, delusion and paranoia become ever more difficult to distinguish. Brief gothic flourishes hint at something darker and more foreboding lurking beneath the surface, while the heavier guitar work adds a welcome sense of bite. Combined with some of the album's most dramatic passages, it leaves a particularly lasting impression and stands amongst the record's most successful compositions.
In complete contrast, Beneath the Moon (Tunglið) is by far the album's most atypical composition. Performed entirely in Icelandic and featuring violin from Lea-Sophie Fischer of Eluveitie alongside the ethereal voices of Icelandic vocalists Rannveig Sif Sigurðardóttir and Sólveig Sara Leupold, it represents a marked departure from much of what surrounds it on Dark Asylum. Completely acoustic and exquistely performed, it uses imagery of the moon, tides and the natural cycle of change to explore acceptance and personal transformation. The decision to present these ideas through Icelandic lyrics only enhances the song's otherworldly beauty, providing a welcome moment of reflection as the narrative begins moving towards its conclusion.
Penultimate track The Puppet King leaves us with another compelling composition and completes the album's best three-track run. Closing the narrative's central conflict, it finds the protagonist confronting the manipulative forces that have shaped much of their journey through RavenHill. Tommy Karevik once again sounds fully invested in the material, delivering one of his more dramatic performances on the album, while drummer Alex Landenburg turns in an especially impressive performance behind the kit. The result is a suitably theatrical and engaging conclusion to the main body of the album before instrumental Sanctum Requiem provides its closing farewell.
Dark Asylum does not consistently reach the standards set by either the finest releases of the Roy Khan era or Tommy Karevik's impressive debut on Silverthorn. Nevertheless, it is a more focused and rewarding listen than The Awakening, with its finest material providing evidence that Kamelot remain capable of combining engaging storytelling with memorable song writing. Not every composition leaves an equally lasting impression and there are occasions where familiar ideas resurface once too often. Even so, the album's highlights are sufficiently strong to outweigh its shortcomings. Rather than representing a dramatic reinvention, Dark Asylum feels like a band refining their strengths and, in doing so, delivering one of the more satisfying releases of their most recent career.
Dark Asylum is released on 28th August 2026
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