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]