KATATONIA

Alternative Metal / Death-Doom Metal / Metal Related / Non-Metal / Gothic Metal / Doom Metal / Black Metal • Sweden
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Katatonia formed in 1991 in Stockholm, Sweden and was brought together by long time friends, Anders Nyström (aka Blakkheim) and Jonas Renkse (aka Lord Seth). After more than a year of rehearsals and composing, the first real fruits of their labour came to light in mid 1992 with the release of the demo ‘Jhva Elohim Meth’, recorded at Sweden’s Gorysound Studio and produced by the multi-musician Dan Swanö. The demo sold out immediately, bringing Katatonia to the attention of Dutch label Vic Records, who went on to re-release the demo as a mini CD, titled ‘Jhva Elohim Meth – the Revival’. With the CD selling out fast and their reputation spreading like a wildfire through the underground, the duo knew they would need a fuller line-up to move the band up and forward. So, bassist Guillaume Le Huche (aka Israphel Wing) was enlisted to their ranks, enabling them to perform read more...
Thanks to UMUR, bartosso for the updates

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KATATONIA Discography

KATATONIA albums / top albums

KATATONIA Dance of December Souls album cover 3.96 | 31 ratings
Dance of December Souls
Death-Doom Metal 1993
KATATONIA Brave Murder Day album cover 4.08 | 39 ratings
Brave Murder Day
Death-Doom Metal 1996
KATATONIA Discouraged Ones album cover 3.84 | 27 ratings
Discouraged Ones
Gothic Metal 1998
KATATONIA Tonight's Decision album cover 3.68 | 28 ratings
Tonight's Decision
Metal Related 1999
KATATONIA Last Fair Deal Gone Down album cover 4.40 | 32 ratings
Last Fair Deal Gone Down
Metal Related 2001
KATATONIA Viva Emptiness album cover 4.22 | 39 ratings
Viva Emptiness
Alternative Metal 2003
KATATONIA The Great Cold Distance album cover 4.05 | 48 ratings
The Great Cold Distance
Alternative Metal 2006
KATATONIA Night Is the New Day album cover 3.66 | 34 ratings
Night Is the New Day
Alternative Metal 2009
KATATONIA Dead End Kings album cover 4.00 | 27 ratings
Dead End Kings
Alternative Metal 2012
KATATONIA Dethroned & Uncrowned album cover 3.83 | 17 ratings
Dethroned & Uncrowned
Non-Metal 2013
KATATONIA The Fall Of Hearts album cover 4.26 | 24 ratings
The Fall Of Hearts
Alternative Metal 2016
KATATONIA City Burials album cover 3.88 | 12 ratings
City Burials
Alternative Metal 2020
KATATONIA Sky Void of Stars album cover 4.71 | 3 ratings
Sky Void of Stars
Alternative Metal 2023

KATATONIA EPs & splits

KATATONIA For Funerals to Come album cover 3.35 | 8 ratings
For Funerals to Come
Death-Doom Metal 1995
KATATONIA Primordial / Katatonia album cover 0.00 | 0 ratings
Primordial / Katatonia
Death-Doom Metal 1996
KATATONIA Katatonia / Hades album cover 0.00 | 0 ratings
Katatonia / Hades
Death-Doom Metal 1996
KATATONIA Sounds of Decay album cover 4.06 | 8 ratings
Sounds of Decay
Death-Doom Metal 1997
KATATONIA Saw You Drown album cover 3.29 | 8 ratings
Saw You Drown
Metal Related 1998
KATATONIA Teargas EP album cover 4.00 | 5 ratings
Teargas EP
Doom Metal 2001
KATATONIA Tonight's Music album cover 3.90 | 5 ratings
Tonight's Music
Metal Related 2001
KATATONIA The Longest Year album cover 3.25 | 2 ratings
The Longest Year
Alternative Metal 2010

KATATONIA live albums

KATATONIA Live Consternation album cover 3.27 | 7 ratings
Live Consternation
Alternative Metal 2007
KATATONIA Last Fair Day Gone Night album cover 4.50 | 2 ratings
Last Fair Day Gone Night
Alternative Metal 2013
KATATONIA Sanctitude album cover 4.11 | 5 ratings
Sanctitude
Non-Metal 2015
KATATONIA Dead Air album cover 3.50 | 1 ratings
Dead Air
Alternative Metal 2020

KATATONIA demos, promos, fans club and other releases (no bootlegs)

KATATONIA Rehearsal album cover 0.00 | 0 ratings
Rehearsal
Black Metal 1991
KATATONIA Jhva Elohim Meth... the Revival album cover 2.83 | 6 ratings
Jhva Elohim Meth... the Revival
Death-Doom Metal 1992
KATATONIA Rehearsal 92 album cover 0.00 | 0 ratings
Rehearsal 92
Death-Doom Metal 1992

KATATONIA re-issues & compilations

KATATONIA Brave Yester Days album cover 4.00 | 3 ratings
Brave Yester Days
Death-Doom Metal 2004
KATATONIA The Black Sessions album cover 4.00 | 4 ratings
The Black Sessions
Metal Related 2005
KATATONIA Introducing Katatonia album cover 0.00 | 0 ratings
Introducing Katatonia
Alternative Metal 2013
KATATONIA Kocytean album cover 4.00 | 1 ratings
Kocytean
Alternative Metal 2014
KATATONIA Mnemosynean album cover 3.77 | 3 ratings
Mnemosynean
Alternative Metal 2021

KATATONIA singles (7)

.. Album Cover
2.00 | 1 ratings
Ghost of the Sun
Alternative Metal 2003
.. Album Cover
3.25 | 2 ratings
My Twin
Alternative Metal 2006
.. Album Cover
3.25 | 2 ratings
Deliberation
Alternative Metal 2006
.. Album Cover
3.50 | 2 ratings
July
Alternative Metal 2007
.. Album Cover
0.00 | 0 ratings
Day and Then the Shade
Alternative Metal 2010
.. Album Cover
0.00 | 0 ratings
Buildings
Alternative Metal 2012
.. Album Cover
0.00 | 0 ratings
Lethean
Alternative Metal 2012

KATATONIA movies (DVD, Blu-Ray or VHS)

KATATONIA Reviews

KATATONIA Sky Void of Stars

Album · 2023 · Alternative Metal
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lukretion
Katatonia are a bona fide metal institution. With 12 full-length albums under their belt, the Stockholm-based trailblazers have been leaders in redefining the sound of the genre, building from their death/doom origins in the 1990s to gradually incorporate post-rock, dark rock, and progressive metal elements into their music. On January, 20th, 2023 the band will release their latest effort Sky Void of Stars via Napalm Records. Comprised of 10 songs (plus 1 bonus-track), once again all penned by vocalist and founding member Jonas Renkse, the anticipation for the follow-up to 2020’s City Burials is sky high. Can the dark metal icons pull off yet another masterpiece? Or are the years taking a toll on their creativity?

These were some of the questions going through my head as I pressed “PLAY” to stream the promo provided by Napalm Records. My trepidation was further enhanced by the fact that I wasn’t overly impressed with the band’s previous LP City Burials - an album that walked a fine line between understated mellowness and plodding torpor, but did not always manage to stay on the right side of it. Fortunately, Sky Void of Stars blew all my concerns out of the water, and stands magnificently as one of the best albums Katatonia ever made.

With the new LP, the Swedes have attempted something very bold. They have taken the most distinctive aspects of their sound over the last 20 years, and pushed each separate element to a further extreme, all in the space of the same record. If you have been following the release of the three album singles, you will know exactly what I mean. The first single “Atrium” was a gloriously catchy, deceptively simple goth tune that could by all means be a new “Teargas” or “My Twin” for the band. Next, Katatonia dropped “Austerity”, an incredible tour-de-force that manages to distillate in just under 4 minutes the essence of modern progressive metal, from angular riffing to complex polyrhythms, all without losing sight of melody. The final single “Birds” took us yet on another stylistic turn: it’s a more straightforward, heavier piece that harks back to the sound Katatonia pioneered in the early 2000s, on their Viva Emptiness album in particular, with its austere atmosphere, sinister melodies and urgent pacing.

Taken together, the three singles capture exactly what you can expect to find on Sky Void of Stars: catchy, electronic-laden gothic anthems, punishing progressive beasts, and heavy-hitting slabs of sinister dark metal. “Hang on a second”, you ask, “how can these disparate styles coexist on the same LP?”. While the three singles may point to a scattershot album that does not quite know which direction to take, the real beauty of Sky Void of Stars lies in how naturally and elegantly Katatonia managed to weave together these different sonic niches to form a strikingly coherent whole.

A lot of it has to do with the sequencing of the tracklist. The way it keeps building and releasing tension - alternating driving uptempos with mellower songs, heavy demanding pieces with sudden bursts of melodic accessibility - is absolutely pitch-perfect. The shifts are gradual and natural. Take the first three tracks on the LP. Opener “Austerity” takes no prisoners. Drummer Daniel Moilanen is on fire: his urgent, tentacular performance is astonishing, making it almost impossible to count the time signatures. Niklas Sandin’s pulsating bass is no less impressive both in the faster, more technically demanding parts and in the mellower jazzy bridge. Meanwhile, Anders Nyström and Roger Öjersson churn out some beautifully complex riffs, before Öjersson unleashes a shimmering solo halfway through the song (the first of many he performs on this record). Renkse’s voice is warm and inviting as usual, but his melodies are oblique and unpredictable, making for a rather claustrophobic start to the album. How do you come down from such a high-pressure, high-impact track? “Colossal Shade” dials things down gradually with its catchier melodies, bouncy mid-tempo and poppy electronic undertones, but there is a darkness lurking beneath the surface, in the heavy chug of the guitars and the dissonant bridge, which ushers in those Viva Emptiness vibes I was mentioning earlier. With “Opaline”, the comedown is complete. Together with “Atrium”, the song is probably the most accessible of the whole album, with its infectious electro-goth undercurrents and mellow keyboard lines, all converging into a majestic, melancholy-infused chorus that brings to mind the band’s best work on The Great Cold Distance.

The rest of the album ebbs and flows in a similar fashion. “Birds” and “Author” dial up the tension again - the latter packing a lugubrious chorus that takes me way back to those early Katatonia albums where Renkse had just started experimenting with clean-vocal (but pitch-black) melodies (Tonight’s Decision; Discouraged Ones). The mellow, vaguely psychedelic “Drab Moon” softens the blows, while “Impermanence” is a spellbinding heavy ballad that features co-vocals by Joel Ekelöf (Soen) as well as some beautifully mournful guitar leads that hark back to the band’s early doom days. “Sclera” is a masterpiece in understatement, with its barely hinted melodies, scattered drumming and evocative electronic effects. The crescendo from verse to pre-chorus to chorus is mesmerizing, and builds the perfect tension for the subsequent track “Atrium”, which is the other melodic centrepiece of the album after “Opaline”. Sky Void of Stars closes as it started, with another crushingly progressive piece. This time extending to over 6 minutes in length, “No Beacon To Illuminate Our Fall” is an ever-changing beast that builds on twisted riffs and bleak vocal lines that keep mutating and evolving, leaving the listener with little to latch on and no clear sense of what may come next.

The record is further graced by a masterful production by Danish wizard Jacob Hansen: warm and natural, yet clinically clean, it achieves a beautiful separation between frequencies in the mix, ensuring that each instrument is clearly heard at all times, from Sandin’s bass, to the two guitars, to the keyboard effects, to Moilanen’s various drum components. The end result is particularly admirable when one considers how richly textured the music is. The keyboards and electronic effects are omnipresent, but so are the drums and the guitars - the latter playing a much more prominent role than on City Burials. As a consequence, Sky Void of Stars feels heavier and fuller than its predecessor, but this is accomplished without sacrificing nuance or clarity.

With of Sky Void of Stars Katatonia have tried something bold and ambitious: to condense in the space a single LP the vast universe of styles and influences they have taken on board in the course of their three-decade career - from doom, to gothic metal, to electronica, to progressive rock. What’s more - instead of attempting to find a compromise between the different styles within each song, they pushed each different style to the fore across a different set of songs, merging them then into a coherent narrative by means of gradual shifts in tension and expressivity. In many ways, this is reminiscent of what Katatonia tried to do on City Burials, but with much better results, as the new album sounds crisper and more dynamic, and it achieves a better balance between mellow and upbeat moments as well as between guitar-driven music and futuristic electronic elements.

The flip side of this ambitious endeavour is that Sky Void of Stars is not an easy record to take in: there is a lot going on and the album requires a dedicated investment in time and active listening on the part of the audience. It is, however, worthy of every second of your time, because Sky Void of Stars is absolutely brilliant, and perhaps even the pinnacle of the Katatonia’s entire discography.

[Originally written for The Metal Observer]

KATATONIA Mnemosynean

Boxset / Compilation · 2021 · Alternative Metal
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UMUR
"Mnemosynean" is a compilation 2-disc album release by Swedish metal act Katatonia. The compilation was released through Peaceville Records in October 2021. It´s a compilation of B-sides, rarities, and remixes released to celebrate the 30 year anniversary of the band.

The first disc features 12 tracks and a total playing time of 73:16 minutes. All tracks are B-sides, outtakes, and rarity tracks from the latter part of the band´s discography (from 2006 onwards). 6 of the 12 tracks have previously been compiled on the 2014 "Kocytean" compilation EP. Disc 1 opens with the two most different sounding tracks in "Vakaren" and "Sistere", which are bonus tracks from the limited edition version of "The Fall of Hearts" (2016). Both are mellow and melancholic tracks, and in the case of "Vakaren", a song featuring Swedish language lyrics, which shows a different side of Katatonia. The remaining tracks are more "regular" heavy melancholic Katatonia tracks, featuring their signature mellow/loud, heavy/soft songwriting approach. The quality is generally high, although some tracks stand out more than others.

Disc 2 features B-sides, rarities, and remixes of tracks predominantly from 2006 backwards. It´s a massive disc featuring no less than 15 tracks and a total playing time of 86:52 minutes. The listener will experience more difference between the tracks in terms of production values and music styles compared to the material on Disc 1, where the sound production on most tracks are relatively similar in style. This is of course not surprising if you´re familiar with the early part of Katatonia´s discography and the very different sounding production values of their early releases. Katatonia have almost always released good quality non-album material, and the material on Disc 2 is definitely an interesting addition to the more well known album compositions. So up until the last five tracks of the compilation, "Mnemosynean" is arguably an interesting and good quality B-Sides/Rarities compilation. The closing five tracks are however remixes of tracks like "Idle Blood" and "Soil's Song", which to my ears are only included for the most hardcore fans. The rest of us can easily skip those tracks and enjoy the remainder of the compilation, without experiencing any kind of loss.

Upon conclusion "Mnemosynean" does a lot of things right. First of all it presents the listener to a lot of "hard to get" and slightly different sounding tracks (very deep cuts if you will), which in most cases could well have been included on the respective releases they are outtakes from, while a few are of the more experimental kind and probably wouldn´t have fit on one of the regular album releases. The 10 minutes long gothic rock influenced "Scarlet Heavens" is probably the best example of that. Having those tracks compiled on one release without "best of" tracks (like Katatonia for example did on "The Black Sessions" (2005)) is a great way to have access to the songs. The remixes unfortunately drag the compilation down and I´d say "Mnemosynean" would have been a better compilation without them. A 4 star (80%) rating is still fully deserved though, as "Mnemosynean" is otherwise loaded with high quality compositions.

KATATONIA Viva Emptiness

Album · 2003 · Alternative Metal
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UMUR
"Viva Emptiness" is the 6th full-length studio album by Swedish alternative/doom/progressive rock/metal act Katatonia. The album was released through Peaceville Records in April 2003. It´s the successor to "Last Fair Deal Gone Down" from 2001 and features the same five-piece lineup who recorded the predecessor. It was the first time in Katatonia´s history (up until then) that they had the same lineup on two consecutive album releases. 15 tracks were written and recorded during the sessions, and 13 tracks made the album. "Wait Outside" did not appear on the original version of the album, but appears on later reissues, and was first made available on the 2005 "The Black Sessions" compilation album. "Consternation", which ended up being re-recorded and released on "The Great Cold Distance (2006)", didn´t make the cut for "Viva Emptiness" either.

The 13 tracks which did make the cut for the album, are a very interesting and quite different listen from the material on "Last Fair Deal Gone Down (2001)". While the band did come into their own on the predecessor they weren´t completely done developing their sound, and while "Viva Emptiness" overall continues the alternative rock/metal style with a melancholic atmosphere of "Last Fair Deal Gone Down (2001)", it´s generally a darker, heavier, and more gritty release. Keyboards have a more central place in the soundscape along with heavy guitars, powerful drumming, and Jonas Renkse´s soft voice and melancholic lyrics and delivery. The music is very dynamic though and the band still perfectly master the contrasts of light/dark and heavy/mellow.

"Viva Emptiness" opens with the strong trio of tracks "Ghost of the Sun", "Sleeper", and "Criminals" and the high quality generally continues on the remaining tracks of the album (a few tracks are slightly sup par to the best material on the album, but it´s a minor issue). Other highlights include "Burn the Remembrance", "Evidence", and the beautiful melancholic "Omerta". The instrumental "Inside the City of Glass" closes the album on a highly atmospheric note, and it appears a bit strange to me, that the band would chose to add vocals/lyrics to that particular track (which is perfect as it is) on the 10th anniversary version of the album. Truth be told I haven´t heard the version with vocals yet though, so it may be great, and I´m just complaining because I´m a grumpy old man...

"Viva Emptiness" features a dark, gritty, and relatively raw sounding production, although everything is audible in the mix. It´s just compared to the last couple of releases, the volume has definitely been dialed to 11 and sometimes the loud distorted parts are pretty noisy. Personally I enjoy the heaviness of the sound and the attitude Katatonia display on "Viva Emptiness", but it´s a bit less subtle than what is generally heard on the direct predecessor. "Viva Emptiness" marks the end of what I consider the mark II era of Katatonia, as they would change their sound again on "The Great Cold Distance (2006)". In that respect "Viva Emptiness" is a playful transition release, which shows Katatonia toying with time signatures, new timbres and dynamics, keyboards/synths/programming, and overall adventurous songwriting. This is anything but formulaic and it´s one of the more demanding, intriguing, and eclectic releases in the band´s discography. To my ears it´s their magnum opus. A 5 star (100%) rating is deserved.

KATATONIA Dead End Kings

Album · 2012 · Alternative Metal
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Necrotica
"At night, walking on the tracks, change my perspective..."

That is, indeed, a lyric from the album. However, it's also a quick summation of when I realized Katatonia's greatest strengths as a band. One cloudy evening, many years ago, I parked my car and proceeded to walk to a bass lesson by my jazz instructor. As I crossed the tracks, I listened to Dead End Kings for the very first time on my phone and headphones. As I looked at my surroundings, every color seemed to melt into a muted blend of gray and black through the sheer power of musical atmosphere. The mix of crunchy downtuned guitar riffing and cinematic keyboards found in opener "The Parting" felt like a gradual descent into a different state of being altogether; hell, I felt like I was just teleported somewhere else entirely. Now, keep in mind that I was already a fan of Katatonia by this point. I was a big fan of Viva Emptiness and The Great Cold Distance and the way they combined crushing alternative metal riffs with a melancholic vibe. But something about this experience was distinctly different.

On the more concrete side of things, the most notable aspect of Dead End Kings is that it symbolizes Katatonia's evolution into a progressive rock/metal act. There were always hints here and there, but this is the first time we get to hear those moments in a more fleshed-out way. Tempos are more varied, the rhythms are a bit more intricate, and as stated before, some cinematic synthesizers have been thrown in (and utilized more effectively than on Night is the New Day, as far as I'm concerned). Some songs practically ditch metal altogether, such as the soft palm-muted electric guitar chug of "The One You Are Looking For Is Not Here" or the melodious, textured doom rock (if "doom rock" is a real tag) of "Undo You." A few other experiments are brought on board too, like the strange piano-led swing rhythm of "Leech," the snare drum dominance of the more technically-challenging "Hypnone," and the fantastic inclusion of electronic ornaments to the music of "The Racing Heart." And what does all of this do for the band's sound? Exactly what it should be doing: giving us one of the most atmospheric releases yet by this band. It should probably be clear by this point that when I wrote: "Katatonia's greatest strength's," atmosphere was at the top of that list. And the reason Dead End Kings remains one of my favorite Katatonia albums is because the progressive elements gave them even more ways to experiment with the general atmosphere of their music. Add on top of this some of their most dynamic traditional bangers, such as "Ambitions" and "Dead Letters," and the experience is practically impossible to not recommend. A night on the tracks changed my perspective indeed.

KATATONIA Mnemosynean

Boxset / Compilation · 2021 · Alternative Metal
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lukretion
With their latest release Mnemosynean, Swedish prog metal masters Katatonia take us on a trip down memory lane. This double-disc album is a compilation of b-sides, bonus tracks and remixes that span their entire thirty-year career, from the early days when they were a nascent death metal band trying to find ways to push the boundaries of the genre, to the current times where they are globally recognized as one of the frontrunners of the progressive post-metal phenomenon.

The album is cleverly organized in reverse chronological order, starting in disc 1 with several outtakes from the recording sessions of The Fall of Hearts, and ending in disc 2 with a track recorded back in 1994 immediately after the release of the band’s debut LP Dance of December Souls. Disc 2 also contains a handful of remixes, mostly of tracks from The Great Cold Distance, which nicely round off the album. The broad scope of the compilation gives listeners a fantastic bird’s eye view of the evolution of Katatonia’s sound over the years, which is a nice reminder of how far this band has come from their early death metal days. It also shows that the seeds of the band’s current sonic incarnation were sown long time ago, when already in the mid-1990s Anders Nyström and Jonas Renkse were experimenting with acoustic soundscapes and mellower musical forms, breaking away from the metallic assaults of the death metal canon.

The most remarkable aspect of Mnemosynean is that, in many cases, the quality of the b-sides included in the collection is as high as that of the tracks that found a home in the band’s full-length albums. As explained in the detailed track-by-track liner notes compiled by the band members themselves, the exclusion of these songs was often due to timing issues: several of the tracks included here were written late in the recording session of an album and there was simply not enough studio time to record them in time for the release of the record. In other cases, the songs were excluded because the band felt they did not fit well within the track-list of their current album, occasionally because they were slightly more left-field than your typical Katatonia’s song. Only in a rare few cases the band decided to leave them out because they did not like them much – as Anders Nyström openly admits for “Fractured”, for example.

The high quality of the material included in the compilation ensures a highly enjoyable and exciting listening experience, with plenty of highlights. “Vakaren” and “Sistere” are fantastic songs that take us straight back to the progressive leanings of The Fall of Hearts, and are as good as anything that you can find on that record. “Wide Awake in Quietus” is taken from the same sessions, but it has a more alternative rock feel that reminds me of The Pineapple Thief. This track also features a cool guitar solo from Paradise Lost’s Greg Mackintosh. Meanwhile, “Unfurl” is a Katatonia’s classic and a staple of their live concerts. It is astonishing to read that this track was coarsely put together by producer David Castillo in his apartment over his laptop computer. “Wait Outside” is another great song, taken from the Viva Emptiness recording sessions. Its three minutes effortlessly recreate the jarring sense of uneasiness that album is soaked in.

Elsewhere, things take a slightly quirkier and more unconventional turn. On “Night Comes Down” the Swedes give the Katatonia-treatment to a Judas Priest’s ballad from their 1984 album Defenders of the Faith. It is a sombre, melancholic track that feels surprisingly close to some of the material Katatonia have released on their most recent record, City Burials. “O How I Enjoy the Light” is another cover, this time by American singer-songwriter Will Oldham. Recorded spontaneously in 2001, this moving, largely acoustic track harks back to the sound of Tonight’s Decision, and is a powerful reminder of the breadth of Katatonia’s influences already back in the 1990s. I also want to mention “The Act of Darkening”, a dark meditation inspired by the Chernobyl disaster where the band experiments with acoustic ambiance and sophisticated vocal harmonies, in a similar way as they did on their acoustic album Dethroned & Uncrowned. The result is simply breath-taking, making this song my preferred track of the album.

Speaking of quirky material, it’s impossible not to mention “Scarlet Heavens” where Katatonia take an unexpected gothic turn. As Nyström explains in the liner notes, this song was recorded after the success of the band’s debut album Dance of December Souls, when Katatonia felt they wanted to explore new sonic possibilities. The end result was “Scarlet Heavens”, a song that sounds like a cross between The Sisters of Mercy and Type O Negative. While the band eventually did not follow up on this sonic experiment, it is fascinating to listen to it today.

As a long-time fan of the band, I had lots of fun listening to this compilation. So, should you plunk down your hard-earned cash for it? This is a pertinent question, given how most of the tracks included here have been released before in one form or another (as bonus tracks of the special editions of the full-length albums, as b-sides of singles, on EPs, etc.). So if you have been following this band for years, you may already own a large chunk of the material on offer here, as I do. Personally, I like the idea of having these songs all organized in the same physical release and I did greatly enjoy the “time travel” experience of going through the material in reverse chronological order. Plus, I did not already own all of these songs, so there have been a few pleasant surprises on this record too. The addition of insightful line notes written by band members and producers was also a definite bonus for me, and so was the detailed essay included in the booklet written by music journalist Eleanor Goodman. Ultimately, as it is often the case with these compilation releases, it comes down to personal preferences whether you see this as worthy purchase or not. But if you do decide to give it a spin, rest assured that this is a high-quality release, meticulously put together and containing some top-notch material from one of the most accomplished progressive post-metal acts out today – so disappointed you shall not be!

[Originally written for The Metal Observer]

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Necrotica wrote:
more than 2 years ago
Just switched The Fall of Hearts to progressive metal. There have been countless sources online that have labeled it as a prog record, and I'm inclined to agree. Many of the alternative elements were stripped away in favor of more technical, intricate passages, so I'm keeping the album at prog metal as of now.
Prog Geo wrote:
more than 2 years ago
One of the greatest sad bands!

Pelata wrote:
more than 2 years ago
Katatonia are one of my favorite bands! Beginning with 'Discouraged Ones', the band never fails to put out dark, melodic and engaging Metal!

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