Katatonia’s The Fall Of Hearts was a masterpiece that capped the end of a remarkable period of creativity for Katatonia. Having released an album roughly every two-to-three years from 1993’s Dance Of December Souls debut, the band nevertheless suffered some turmoil when, in 2014, both Daniel Liljekvist (drums) and Per Eriksson (guitars) left. Haunting, and progressive, The Fall Of Hearts felt like a new start for the band, but Katatonia felt that it was time for a break and, in 2018, went on hiatus to “re-evaluate what the future holds for the band”. Such uncertain phrasing worried fans, but it was only a year before Katatonia returned to promote the tenth anniversary of Night Is The New Day and, shortly thereafter, City Burials, the band’s eleventh studio album was announced.
The album opens with Jonas’ unique and instantly recognizable voice set against a haze of synth reminiscent of the sublime Sanctitude live set. It’s a short-lived and beautiful introduction to Heart Set To Divide and, when the guitars kick in, it’s a surprisingly incisive, elastic riff that drives the track forward. The production, typically, is flawless, with a huge amount of space left between the airy synths and grinding bass lines, making for an atmospheric, yet vigorous opening piece. Keeping things at the heavier end of the spectrum, Behind The Blood practically explodes into life, with a vital riff and winding solo recalling the progressive muscle of Queensryche. Unquestionably Katatonia, and yet with a steely core that feels more traditionally metal, Behind The Blood is a bold track that will slay in the live environment. In contrast, the album’s first single, Lacquer, is a subtle, string-laden piece that cleaves closer to the likes of latter-day Ulver with its rippling electronica and naked vocal. It’s a gorgeous piece of music that sees katatonia further exploring the realms of progressive rock and it builds wonderfully. Th sudden start of Rein, like ascending a sonic-cliff face, comes as something of a surprise, the awkward time signature and blazing guitars adding to the sense that the Katatonia of 2020 are keen to explore new ground wherever possible, without ignoring those elements that lie at their core. The first half concludes with The Winter Of Our Passing, another track with an Ulver vibe thanks to the deft incorporation of electronic elements and the driving rhythm. A powerful song and the perfect choice for a single, The Winter Of Our passing is a memorable and engaging piece of music that perfectly sits at the heart of the album.
Opening the album’s second half, Vanishers is another piece that takes its cues from Sanctitude, with gorgeous layered vocals and an airy, progressive backdrop. This is Katatonia at their most elegiac and the results are both heart-breaking and beautiful. An album highlight, the eerie, City Glaciers filters bluesy guitar licks through the band’s unique, progressive lens with mesmerising results. It’s followed by Flicker, a track that is rather more in the vein of traditional Katatonia, although the stuttering synth patches give it a more overtly electronic feel and the result is stately, yet with a dark undercurrent that adds a sense of urgency to proceedings. The piano-led Lachesis is a short, poignant piece that leads directly to the unusual Neon Epitaph. Built around a riff reminiscent of Tool’s recent opus, Neon Epitaph is another track that seems to shake itself loose of the atmosphere building up around it, blazing out with real fire without sacrificing the sense of melody and wonder that abounds elsewhere. The album’s final track, Untrodden, is a gorgeous coda that features a remarkable, Gilmour-esque solo that perfectly concludes all that has gone before. It leaves the listener feeling somehow refreshed, as if woken from a lengthy dream, and it marks the end of one of the most satisfying and diverse Katatonia albums to date.
On the evidence of City Burials, a short hiatus was all that the various members of katatonia needed to refresh themselves, and the resulting album is a powerful reaffirmation of katatonia’s artistic evolution. Whilst maintaining the core elements of a sound that has ensnared the hearts of their myriad followers, City Burials takes sonic cues from the likes of Ulver and Tool and the resultant work is a grand, atmospheric journey that listeners will want to experience from start to finish. Truly mesmerising, Katatonia remain a unique and special band. 9.5/10
