Echo & The Bunnymen return with their 12th studio album, Meteorites, marking their first release since The Fountain five years ago. During the band’s downtime, frontman Ian McCulloch released his well-received fourth solo album, Pro Patria Mori, and the live album Holy Ghosts in 2012.
Meanwhile, in 2013, guitarist Will Sergeant collaborated with former Bunnymen bassist Les Pattinson under the guise of Poltergeist, releasing the instrumental album Your Mind Is a Box (Let Us Fill It With Wonder).
Encouraged by producer Youth—best known for his work with Killing Joke and for producing Holy Ghosts—McCulloch dug deep into his past, crafting songs that explore his childhood and his relationship with his father. Reflecting on the songwriting process, McCulloch stated, “I wrote from the soul, more so than the heart and brain.” Initially intended as a follow-up to Pro Patria Mori, these songs took on new life when Sergeant, after hearing early recordings, added his signature guitar work, transforming them into a full-fledged Echo & The Bunnymen album.
The album opens with its title track, Meteorites, starting with a slow-burning elegance. Lush strings accompany McCulloch’s rich, smoky vocals, which carry a haunting resonance. As the song builds, it crescendos into a soaring chorus: “Life’s lost soldiers on the march, leaving their trenches now.” Youth’s production lends the track a spacious, cinematic quality, setting the tone for the album’s introspective journey.
From the grand to the anthemic, Holy Moses is destined to be a fan favorite, with its rousing melody sure to inspire singalongs and fists in the air when the band hits the road. Sergeant’s guitar lines subtly reference the melody from Me and David Bowie, a standout track from McCulloch’s last solo effort.
Sergeant commands attention with shimmering, Eastern-inflected guitar work on Constantinople, a standout moment on the album. Driven by an urgent beat, McCulloch’s evocative lyrics convey the city’s chilling atmosphere: “It’s so cold there.” The track’s exotic textures make it a compelling highlight. The momentum shifts with the poppier Is This a Breakdown, leading seamlessly into Grapes Upon the Vine, a track that confronts McCulloch’s past struggles with drinking and the rock and roll lifestyle.
The Eastern guitar influences return for another album highlight, Market Town, the first track released ahead of the album. Featuring female backing vocals, swirling backward guitars, and a funk-inflected groove, the song is the album’s most expansive, clocking in at over seven minutes. With its dynamic structure and rich instrumentation, it wouldn’t feel out of place alongside classics from Ocean Rain.
The album closes on a reflective note with New Horizon, mirroring the slow, introspective energy of the opening track. Here, McCulloch continues his personal exploration, reflecting on his upbringing and the lingering effects it has had on his life.
Meteorites is a triumphant return to form after the patchy The Fountain. The production is top-tier, while Sergeant’s inspired guitar work adds layers of texture and depth to McCulloch’s introspective songwriting. Echo & The Bunnymen have rightfully toured their classic albums—Ocean Rain, Crocodiles, and Heaven Up Here—in the past. If there’s any justice, Meteorites will receive the same treatment. It’s that good.
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