Katatonia were once masters of death/doom, but as with many bands from that era—Opeth, Paradise Lost, Anathema—there’s always been a restless spirit, a need to evolve.
In Katatonia’s case, that evolution has seen them become one of the finest progressive metal bands around. Even by their standards, though, there’s a lot going on here.
“Nightmares as Extensions of the Waking State” finds the band in bold, exploratory form. “Thrice” is among the most personal things Jonas Renkse has written, the disorienting music twisting like a fever dream to match the theme. “The Liquid Eye” is expansive and daring, Renkse singing “the future’s not ours” with a raw sense of desperation, as the lead guitar cuts through like a warning shot.
“Wind of No Change” adds a symphonic edge before settling into the eerie twilight that much of this album inhabits. And when it explodes, it does so with a jarring “Hail Satan” that no one saw coming.
Perhaps it’s down to the new guitar pairing of Nico Elgstrand and Sebastian Svalland (replacing longtime member Roger Öjersson and co-founder Anders Nyström), but this is arguably the heaviest Katatonia have sounded in a while. There’s real bite to “Lilac” before synths roll in like a tide, muting the metal undercurrent.
These songs, while unmistakably Katatonia, mark a shift from the more anthemic leanings of recent albums. There’s nothing radio-friendly here. Yet “Temporal” is an absolute standout—a brooding, spiralling track you could imagine Tool unleashing in an arena.
“Departure Trails” showcases a swirling, ballad-like approach that works beautifully, while “Warden” injects a welcome jolt of energy late on.
The depth and texture across these 11 songs is stunning. When it all aligns—as it does on the quite brilliant “The Light Which I Bleed”—the result is truly special.
Fragility also plays a part. “Efter Solen” (as usual, there’s one track in Swedish; this one translates to “After the Sun”) floats on ambient keys, gently lulling you before shifting gears into harsh industrial territory by its close.
The album’s title comes from a nightmare Renkse had years ago, and that sense of unease, introspection and complexity runs through the whole thing. The final track may fall short of being an ‘epic’ in length—clocking in at under five minutes—but it still captures everything Katatonia do so well: classy, thoughtful, and original.
Three decades in, and with an ever-changing cast, Katatonia continue to deliver music stamped with quality and authenticity. “Nightmares as Extensions of the Waking State” is no different.
Rating: 9/10
