From their EPK, “Swedish grandeurs of melancholic heaviness, KATATONIA, return with “Nightmares as Extensions of the Waking State,” set for release on June 6, 2025 via Napalm Records. Once again, the Stockholm-based unit masterfully navigates the tightrope act between nocturnal darkness and Scandinavian despair while subtly weaving a sense of hope into the listener’s heart. “Nightmares as Extensions of the Waking State” marks the next step in KATATONIA’s evolution, building upon the foundation of their previous album, “Sky Void of Stars,” and also acts an introduction to their two new guitarists.” This album also marks the first release without founding member Anders Nyström.

Ten songs await the listener, and “Thrice” is first. What hits me first is that the song is steeped in the traditions of the band, yet forward thinking. Their trademark weight is still at the forefront of the sound, but there are also modern elements, especially Progressive ones. “The Liquid Eye” goes from smooth and melancholy, to rousing and energetic, and back again. As is often the case with the band, the pleasing vocal harmonies provide much of the sweetness of their sound. “Wind of no Change” thumps forward with rich, meaty bass notes, weighted guitar work, and smooth vocals. The sound lunges forward at times, and retreats into the shadows at others. “Lilac” brings melancholy tones along with aggressive ones…it’s like being bit but the pain fades quickly, and the level of restraint that the band shows is impressive.

“Temporal” has more weighted tones, but also a good heaping of melody to help round out some of the edges. For me, it feels like the most balanced song on the album, and the catchy hooks don’t make it hard on the ears either. “Departure Trails” has even smoother edges, and it features the band at its most gentle. The song has a distinctive swing to it…a swing of sorrow perhaps that somehow just doesn’t register in your already heavy heart. “The Light Which I Bleed” might be the black sheep of the album, as it ventures away from some of the trademark sound that you might expect from the band…it’s alive, Proggy, and almost jovial at times. The melancholy however seeps in slowly, and keeps an icy grip on the listener.  “Efter Solen” continues in the vein of surprise, and the piano led melody is gentle and charming. Each note however is like a razor blade that brushes your skin…the cut gets deeper with each pass.

“In the Event of” is the final cut, and the pendulum swings back to a more traditional weighted sorrow. There are some more shifting meters here also, and the new guitarists seem more accepting of some of the Proggy elements. Overall, as the first album without one of the founding members, the band has forged ahead. I would be remiss if I didn’t mention some of traditions from Anders are missing, but good bands find ways to work past departures. For long time fans, there are a few surprises, but the core of what you love is still there. The newer approach may also bring with it some new fans. Their signature sound of bleak resonance and bleeding density are still very much alive.