March 22, 2026
It seemed like 2022 was the end of an era. That August, guitarist Scott Kelly, one of the founding members of Neurosis, quit music while admitting to committing numerous acts of domestic abuse. The remaining members issued a statement of condemnation, saying nothing about the band’s future.
In the ensuing years, the remaining band members dispersed and worked on other projects, casting doubt on any possibility of a rekindling. Drummer Jason Roeder put his drums up for sale and hinted at no longer playing. Guitarist Steve Von Till seemed content to focus on solo material and Harvestman. Keyboardist Noah Landis worked on punk project Tension Span. Bassist Dave Edwardson played in Kicker. Renowned sound engineer Steve Albini, with whom Neurosis had worked exclusively for their studio recordings since 1999, passed away in 2024. Years went by without any news about the status of the band, so fans could only conclude that Neurosis was over.
And then, completely out of the blue, on Friday, March 20, 2026: social media posts issued from the official Neurot Recordings and Neurosis accounts stated that the band has reactivated, and has welcomed Sumac guitarist/vocalist Aaron Turner as new member. Not only that, but there is a new album written, recorded, and available immediately for streaming: An Undying Love for a Burning World.
This news is a landmark occasion for fans of heavy music, and I wanted to put some words together with my thoughts on it. But I will be biased. Neurosis rewired my brain the first time I heard them, and I’ll rank them as the best band of all time without hesitation. This is my album of the year, and I would have said that before hearing it.
Neurosis have once again evolved their sound. The signature elements are there, but there is also density and immediacy that run through this record, in contrast with slow-build songs from prior efforts like 2016’s Fires Within Fires or 2012’s Honor Found in Decay. Turner’s contributions are very noticeable, and at times you might think you’re listening to Sumac or Isis. The other aspect to that is that Scott Kelly’s absence is also apparent. In hindsight, his personal demons were most certainly coloring his contributions to the band’s earlier output and what very likely steered it into darker emotional territory. Some may consider those elements a crucial part of the band’s sound; others may not. But Neurosis have always explored different aspects of the human condition through sound; this is not a radical departure from their earlier work. Fans will be pleased to hear Dave Edwardson’s vocals back in the fold; Jason Roeder’s drumming is as stellar as ever. Noah Landis’s textural embellishments continue to be an integral part of the mood. And Steve Von Till’s guitar work here is inspired and beautiful, particularly the effects-laden leads. Overall, this album is a much needed statement from an essential band that was dormant for too long. Those of us paying attention never lost interest and have been rewarded.
Neurosis is scheduled to play their first live show since 2019 at the Fire in the Mountains festival in July.