A band that has truly undergone an evolution (or even a few) in their musical journey, Katatonia has been one to keep their listeners on their toes. While there’s nothing quite as stunning as their move from their ‘heavier’ days into more of the moody gothic metal/rock (occasionally laced with prog), they’ve never exactly played it straight when going from album to album. So it should come as no surprise, particularly with the departure of founder Anders Nyström in the years between Sky Void of Stars and Nightmares as Extensions of the Waking State that the band’s sound has shifted once again. But the question is how?
When listening to the first few notes of opener “Thrice,” that shift is noticeably present. It’s moodier, darker, and despite feeling less immediately accessible than their last album, it also feels more riff-driven. It’s an interesting dynamic that slithers between two different dynamics, and it’s what the rest of the album is based upon as well. Moments of intoxicating, seductive grooves within “Wind of No Change” move into sinister, gothic choirs and eerie electronics. “Temporal” provides elegant guitar melodies and driving riffs in one of the album’s strongest choruses. “Lilac,” as the first single is the most digestible of the album, yet still offers a pensive/reflective element to it that resonates with a strong solo and the rousing guitar riffing and Jonas Renkse’s commanding vocal presence. Lastly, the crushing weight of the riffing at parts “The Light Which I Bleed” make for an almost suffocating feeling that will stick with you after the track finishes.
Yet there’s still an almost playful embrace of electronics and soundscapes. “Departure Trails” provides a gloomy and nuanced feeling that soothes in the best way that Katatonia has been able to do with these mystic types of tracks. “Efter Solen” sees them going back to another Swedish lyric track and removes almost everything but the voice of Renkse and the almost hypnotizing electronics behind him in a way that feels both somber and mysterious. The foreboding melodies and and dreamy riffwork of “Warden” lays some groundwork for the track to contrast it quite well with some heaviness, and the build up and release between the two make it one of the more compelling tracks.
More than anything else, Nightmares as Extensions of the Waking State is an exercise in ebb and flow. Moments of reflective calm giving way to overwhelming darkness, encompassed in a solemn, bleak vision that feels sweeping and different than what Katatonia has done before. Yet Renkse’s soothing vocals and the warmth of some electronic flair keep it grounded and familiar for long-time fans. It’s a fascinating step for the band, and seems to open them up to further exploration, both in diving into it for deeper meaning as well as any future directions they wish to proceed in.