The process of writing has the potential to be one of the most complex tasks one can partake in, though how in depth one intends to purge depends solely on the individual’s spirit and integrity towards producing something definitive. It isn’t fair to say one band is better at this than another, however Katatonia, being an act that’s certainly not easy to digest for everyone (especially on this record), is able to do this with ease for a majority of their audience due to their purging atmosphere, and able to reach out to a select few who transpire and expire within the unfortunately familiar state of mind. Night Is The New Day displays the most seasoned sound of any of their records in that what you hear is what comes after the post-apocalypse, where your mind is reborn from ash, and you’re fully aware of the despondent reality displaced from the rest.
Night Is The New Day, contrary to popular belief, is far replaced from The Great Cold Distance given the extensive amount of layers and density this record holds as well as the diversity merely between the sounds of the songs. Given this new direction towards a more experimentally driven intensity, the band was bound to hinder before a few new concepts, but this only gives one more to hope for on the next outing. As far as what the record brings that’s fairly new for the band, or at least further developed/executed from the past, includes an extensive amount of electronic sample and keyboard usage, such as the piano-driven theme from New Night, the strings in The Longest Year, or the sample-heavy Departer. There’s also more of a folk influence in a couple tracks, namely Idle Blood and The Day And Then Shade, which really hasn’t been seen since A Darkness Coming, though one could argue it made a sparse return in Viva Emptiness’ Omerta. Though, the most overwhelming, yet subtle change is the atmosphere. Katatonia has always had a unified atmosphere within each record, but with Night Is The New Day, they give off a very strong element of the aftermath of ruination, post-nostalgia, and the imagery of the decay of weathered stone architecture, something that greatly enhances a three-hour mind*** when you’re lost in the woods.
There are a few improved qualities as well instrumentally. The guitar effects are not completely abused anymore since that role has been taken by the inclusion of keys/electronics, but when they are used, it doesn’t feel like they’re there for no reason, such as in The Promise Of Deceit. The bass is much more present with a very thick tone (ex: Inheritance), a very nice perk compared to the rest of the discography. The drums, which have never really been samey but, now play around with more rhythms than previously, which could be due to the numerous tempos or simply Daniel’s resourcefulness, exemplified on the tracks New Night or Onward Into Battle. There have been many complaints about Jonas’ vocals on here, as well as The Great Cold Distance, that they are too monotone and uninteresting, and even though there are numerous areas on this record that deliver a higher range (The Longest Year), the mid-range technique is called for due to the dismal tone of the songs (Nephilim, a highly doom-influenced track), and the vocals match so well that their hopelessness and despondence only enhance the songs, and complaining about this means you’re looking for the wrong things in this band.
Temperament is the reason this album thrives as well as suffers. There isn’t exactly anything wrong with the songs overall, but it is apparent that the sound can be taken further. Katatonia is ever-growing as a band and as a concept, and the fact that they haven’t released a perfect record shows they aren’t striving for a peak, but rather multiple ways and styles to express themselves in consistent eminence. This naturally doesn’t guarantee everyone to be able to indulge, however this is not the purpose, further giving the extended privilege to those who can. As far as the discrepancies as to whether or not this band or that band is good or terrible or the best or not quite the best, this should not come into play when you listen to music for the sole purpose of actually enjoying it. Music was never meant to be political, and if you don’t like something then don’t listen to it and quit complaining. If you like something, even if no one else does, you obviously have a reason for this, so embrace it and enjoy it. The music that touches your life is the only reason to live, and embracing the music that becomes your life is the best way to die.
