There’s a certain charm to hearing a band still rough around the edges, but playing like they’ve got something to prove. Calgary’s Prisoner, on their sophomore LP Kill the King, tap into a lineage of denim-and-leather heavy metal with earnest enthusiasm and just enough modern bite to keep things from feeling like pure pastiche. It’s not a flawless record—but then again, neither were most of the ones they clearly adore. The imperfections, in many ways, are the point.
Formed during the pandemic haze of 2020, Prisoner wasted no time pushing forward. A debut album, an EP, and now this full-length in quick succession—they’ve got momentum. On Kill the King, that urgency is baked into every track, sometimes to a fault. It’s a lean, scrappy collection that channels the energy of early Metallica, Priest, and even a little early Soundgarden if you squint your ears. But rather than disappearing into mimicry, Prisoner filter their influences through something distinctly regional. You can hear a Canadian grit in the recording—raw, slightly cold, unpolished in a way that feels live-off-the-floor.
Things begin deceptively calm. “Mars” opens with a folksy acoustic intro, almost out of step with what follows—but not unwelcome. It’s a curtain pull, a breather before the stomp kicks in. And when it does, on “Have It All,” the band finds its gear quickly: twin guitar attacks, galloping drums, and vocals that… well, we need to talk about the vocals.
Murray Emery’s voice is the album’s most polarizing feature. Some will hear a throwback wail, part early ’80s underground metal, part grunge-smeared rasp. Others might find his range and tone a limiting factor, especially on songs that aim high melodically. He doesn’t quite soar—he lunges. It works when the material matches the desperation, less so when the choruses need lift. Still, there’s conviction in the performance. He believes what he’s singing, and that carries more weight than pitch perfection.
The title track, “Kill the King,” lands in the album’s sweet spot. It’s one of the more fully formed songs—anthemic, pointed, and politically barbed without resorting to sloganeering. There’s a balance here between power and structure that doesn’t always hold elsewhere. “Chasing Ghosts” follows with some particularly locked-in interplay between bassist Trevor Macdonald and drummer Karl Pflug—both of whom carry much of the album’s weight. Pflug, in particular, is a machine: relentless double kicks, sharp fills, and a strong instinct for dynamic shifts.
Guitarist Marco Cioffi is the band’s MVP, though. His playing is aggressive but tasteful, more concerned with feel than flash. On “Lost in Control,” he pulls out a wah-drenched solo that avoids the trap of indulgence, instead landing with impact. “Feel the Heat” is another strong moment, more swaggering in tone, with a rhythm that walks the line between hard rock swing and classic metal churn.
As the album moves into its back half, things get looser. “Edge of the Universe” leans into a more thrash-oriented zone but doesn’t quite find a hook to hang on. “Stress Fracture” plays with some progressive elements—odd metres, shifting textures—but feels slightly unfinished. Still, the willingness to stretch is commendable. You get the sense this is a band not just trying to recreate, but also to test the elasticity of their sound.
Then comes “Double Vision,” which has the most immediate appeal. It’s catchy, almost pop-structured, but still grounded in riffs and grit. The production throughout the album—handled by Cody Anstey, Reed Alton, and Emery himself—is clean but not overly polished. The mix is spacious enough to let the instruments breathe, and Tyler Corbett’s mastering gives the record consistency without sanding down its edges. There’s no studio gloss here, just a clear attempt to capture a band as they are: hungry, loud, imperfect.
The closer, “Over the Magic,” feels like a summation of the record’s strengths and quirks. It’s weighty, moody, melodic without being sentimental. If you’ve made it this far, it’s a satisfying end. Not a triumphant crescendo, but a solid exhale.
Kill the King isn’t going to convert those allergic to metal’s theatrical excesses or lo-fi charm. It isn’t built for that. But for fans of NWOBHM, proto-thrash, and underground grit, there’s a lot here to admire. It’s a record that wears its influences on its sleeve but doesn’t collapse under them. And despite some vocal inconsistency and a few less focused tracks, there’s enough spirit, craft, and raw power to keep Prisoner in the conversation.
It’s easy to imagine where this band could go with more time, tighter songwriting, and a few bolder choices. For now, Kill the King is a promising, if uneven, snapshot of a band still discovering what they’re capable of—loudly, unapologetically, and with their amps turned all the way up.
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
