In the age of manufactured authenticity and algorithm-driven music production, Prisoner emerges from Calgary’s underground scene with a refreshing dedication to rock’s fundamental principles. Their latest offering, “Kill The King,” arrives as a testament—strike that—as powerful evidence that hard rock can still deliver meaningful commentary while pummeling listeners with unapologetic sonic force.
Formed amid the isolation of 2020, Prisoner represents a coalescence of classic influences reimagined through a distinctly modern lens. Frontman Murray Emery, guitarist Marco Cioffi, bassist Trevor Macdonald, and drummer Karl Pflug have crafted an album that serves as both a mission statement and a blueprint for their artistic trajectory. What distinguishes this release from their previous output is its cohesive vision—this marks the first full-band collaborative effort, completed remarkably within a compressed five-month creative window.
The album opens with “Mars,” a folk-tinged introduction that belies the intensity to follow, serving as a deceptive calm before the storm. The atmospheric opener gives way to “Have It All,” where Cioffi’s guitar work immediately establishes the band’s technical proficiency while honoring their cited influences—Black Sabbath, Judas Priest, and Metallica among them. Yet rather than merely mimicking their heroes, Prisoner infuses these familiar elements with contemporary production sensibilities.
The title track “Kill The King” emerges as the album’s centerpiece, a rebellious anthem questioning established power structures. The politically charged lyrics feel particularly resonant in our current climate of socioeconomic disparity and institutional distrust. While the metaphor isn’t subtle, it’s delivered with conviction that transcends simple provocation. Emery’s vocal approach here is divisive—some listeners will embrace his raw, unfiltered delivery, while others may find it an acquired taste that requires multiple listens to appreciate fully.
“Chasing Ghosts” showcases Macdonald’s impressive bass work, which provides not merely rhythmic foundation but genuine melodic counterpoint to Cioffi’s guitar lines. The track exemplifies the band’s strongest moments—when they allow instrumental conversations to develop organically without forcing structural conventions. Pflug’s drumming deserves special mention here, displaying remarkable stamina and technical precision while maintaining the song’s emotional urgency.
The album’s pacing demonstrates thoughtful sequencing with “Cold Light,” a power ballad that offers momentary respite without sacrificing the album’s overall intensity. The track reveals Prisoner’s willingness to embrace vulnerability, expanding their emotional palette beyond aggression and defiance. Producer Cody Anstey’s contributions become most evident here, as the spacious mix allows each instrumental element room to breathe while maintaining cohesive atmosphere.
“Lost in Control” marks a highlight, featuring blistering tempos and arguably Emery’s most confident vocal performance. The wah-pedal-drenched guitar solo demonstrates Cioffi’s technical prowess while maintaining melodic sensibility—a balance many modern metal guitarists struggle to achieve. Similarly impressive is “Feel the Heat,” which leverages classic rock swagger with contemporary production muscle, creating an immediately accessible yet substantial listening experience.
The album’s back half explores varied terrain, with “Edge of the Universe” veering into thrash territory before “Stress Fracture” introduces more progressive elements. “Double Vision” offers the album’s most radio-friendly composition without compromising the band’s essential heaviness—a delicate balance that Anstey, Reed Alton, and Emery navigate skillfully in their production roles. The mix by Anstey at Clarity Recording Studio particularly shines here, with Tyler Corbett’s mastering ensuring consistency while preserving dynamic range.
Closing track “Over the Magic” serves as an effective summation of the album’s strengths—forceful rhythm section work from Macdonald and Pflug, memorable guitar phrases from Cioffi, and Emery’s distinctive vocal approach. Recorded at Crooks Hollow Studio in Calgary, the track benefits from the organic sound capture that characterizes the entire album, avoiding the sterile perfection that plagues many contemporary rock productions.
“Kill The King” will resonate most strongly with listeners who appreciate rock music that doesn’t hide behind production tricks or trend-chasing. Prisoner has crafted an album for audiences seeking authentic, guitar-driven music that balances technical skill with emotional urgency. While not without rough edges—particularly in vocal execution and occasional compositional predictability—these imperfections ultimately contribute to the album’s human quality in an era of increasingly sanitized rock music. For their raw energy, technical competence, and willingness to engage with substantial themes while honoring their influences without being constrained by them, this album deserves a solid 7.5/10.
Disclaimer: Despite our commitment to timely reviews, illness prevented this critique from being published prior to the album’s release date several days ago. We appreciate your understanding as we strive to maintain our usual pre-release schedule with future reviews.
Track Listing:
01 – Mars
02 – Have It All
03 – Kill the King
04 – Chasing Ghosts
05 – Cold Light
06 – Lost in Control
07 – Feel the Heat
08 – Edge of the Universe
09 – Stress Fracture
10 – Double Vision
11 – Over the Magic
Tour dates:
08.08.25 Medicine Hat, AB @ Liquid Event Center
08.09.25 Brandon, MB @ The 40
08.12.25 Winnipeg, MB @ Handsome Daughter
08.13.25 Thunder Bay, ON @ Black Pirate Pub
08.15. 25 London, ON @ Palisade Socialbowl
08.16.25 Hamilton, ON @ Doors Pub
08.17.25 Toronto, ON @ Bovine Sex Club
PRISONER ONLINE:
Website // Youtube // Instagram // Facebook // Spotify
