Who doesn’t love a comeback story, especially from a once-beloved band? It’s been an entire decade since Textures released their last album ‘Phenotype’ in 2016 before promptly disbanding, closing the book on one of djent’s most influential and important acts. As ever though, it’s never over till it’s over: the group are back after ten long years with a brand new record in tow. 2026’s ‘Genotype’ is hardly breaking new ground for Textures, or for the genre as a whole— still, the album succeeds as a mostly solid return to form.

For any fans who’ve been waiting with bated breath for this comeback record, the triumphant opening suite that is ‘Void’ should put a smile on your face: Textures announce their return as loudly and cinematically as possible, calling out to djent listeners across the globe. The first track of this brand new release isn’t much of a song, but acts more like the album’s prelude in setting up the various sounds and styles the band will return to time and time again. Synths play a major role across the record— they’re a far more prominent element here than on any previous Textures endeavour— playing into the more atmospheric leanings of the project as a whole. On ‘Void,’ the melodic guitar leads almost settle into the background, acting like vocal accompaniments for this instrumental cut: it’s Stef Broks’ climactic drumming that provides the song its character, setting the album up to be rather meditative and free-flowing, rather than overly aggressive or heavy.

Lead single ‘At The Edge Of Winter’ is our first taste of the full band back in action, and it’s a solid return to form. ‘Genotype’ proves itself to be a very melodic record front-to-back, with vocalist Daniël de Jongh leaning into a gruff rock tone of voice over your typical screams— here, he’s duetting with Charlotte Wessels of Delain, blending their voices together for a song that, despite its polyrhythmic guitar accents and blaring outro, feels more like a power ballad than a metalcore cut. It is also the first instance of the record’s production hampering some of its ambitions though: in attempting to allow the progressive and atmospheric aspects of ‘Genotype’ the space to breathe, Textures end up muddying their guitar tones, resulting in a record that feels a little more flat and plain than was probably intended. Indeed, most of the out-and-out climaxes the band build to feel far more impressive and opulent than they do impactful— in the case of ‘Nautical Dusk’ and ‘Closer To The Unknown,’ the mix can feel rather unremarkable.

Most of these tracks don’t return to their central themes all-too often, but continually march onward to new and exciting ideas: they’re very linear in that sense, building on themselves like the work of a post-metal act. It’s an interesting approach for a record this melodic, often undercutting some otherwise potent lead lines and vocal refrains— if you find yourself humming along at any point, then, you know that the writing is just that strong. ‘Vanishing Twin’ is arguably the strongest cut on the entire album, retaining a constant intensity from its a capella opening until the booming breakdown that closes out the track. Final inclusion ‘Walls Of The Soul’ is similarly able to drive towards its conclusion without losing focus, even if the track is a little more progressive and exploratory: after so many explosions of distorted guitar and harsh sound, the smooth instrumental palate Textures adopt at the end of the song is a wonderful bow on the entire album.

It must be said, though, that the band aren’t doing much that their contemporaries haven’t already mastered: after ten years of hiatus, it’s easy to feel like these genre pioneers are stuck in the past in places. ‘Genotype’ brings its fair share of progressive twists and flashy chops to the table (just check out the groovy rhythmic hiccups of ‘Measuring The Heavens’ and the closing solo of ‘Nautical Dusk’ for proof of that), but nonetheless winds up feeling much more restrained and mellow than something that, say, Periphery put out there. This is primarily an album focused on muted atmospheres and solid melodic refrains, and it has both aspects well and truly in hand— still, it’s disappointing to see Textures playing things so safe this time around. Whenever the band try to dazzle you with their complex playing, they’re practically begging to be compared to any numbers of younger, hungrier acts that’ve surfaced since they released ‘Phenotype’ in 2016: what’s here is solid but hardly mind-boggling, save for Broks’ ever-loveable drumming.

Textures are back, and the past ten years hasn’t put too much of a dent in them: that’s certainly a relief, even if it isn’t the most exciting prospect. ‘Genotype’ is a well-rounded listen, full of strong performances, excellent melodies and intriguing linear song structures, and we’d have a hard time tearing the band apart for playing this safe after their hiatus. Still, it’s only really ‘Vanishing Twin’ that leaves much of an impression after the record ends. We just hope that, now the wheels are turning once more, we can get something a little more fresh from them— still, it’s exciting to see these genre pioneers back on their feet again, bringing an album as solid as this with them.