Review Summary: The "Dead End" Kings rule their kingdom with an iron fist
Seems that over the past few years, the term "comfort zone" has gained a negative connotation, and it's still baffling why this is so.
Perhaps cause many believe it to mean "resting in your laurels" but I disagree. I believe it to mean exploring new territories while claiming them as your own, and no band defines this better than Swedish Prog Metallers Katatonia.
Since discovering their comfort zone in "Last Fair Deal Gone Down", every single album sounds similar to the one before it, yet somehow completely fresh and new. "Viva Emptiness" and "The Great Cold Distance" demonstrated Jonas Renske's unquenchable thirst for Vocal growth (something that to this day remains undeniable) and even the departure of long-running Drummer Daniel Liljekvist and Guitarist Per Eriksson did nothing to slow the band down on this, their 10th offering.
"The Fall of Hearts" is full of surprises, yet undeniably Katatonia. Fans of albums like "Brave Murder Day" or "Dance of December Souls" will again find themselves with nothing nostalgic here. It's obvious that Katatonia (like their British contemporaries Anathema) have long abandoned the Doom Metal sound of their early years, instead finding themselves in a melodic paradise that gives them enough room to explore the beauty of grey rather than stay stagnant in black (heavy) or white (mellow).
Make no mistake, Songs such as "Residual" or "Serac" are as powerful as the Katatonia of late can be, but that's just a further testament to their creativity and what the fresh blood is bringing to the table.
In typical Katatonia fashion, production is crisp, vividly allowing new Drummer Daniel Moilanen to show his chops vigorously with his Prog Metal patterns and giving the Vocals the rawness they deserve. Jonas sprinkles both electric and acoustic Piano parts here and there that enhance the darkness of Songs such as "Last Song Before the Fade", while lyrics such as "I drown in silver, set to gold" bring a labyrinthine sensation of curiosity that demands attention despite the solidity of the Instrumental Songwriting.
The album is as beautifully ambiguous as "Dead End Kings" before it, perfectly blending earnest melancholy while never denying their trademark Gothic Metal sound, yet unlike "Night is the New Day" they seem poised to discover new corners of their home, while never veering too far away from it.
It speaks volumes when a band can not only retain its identity so seamlessly, but also keep redefining what a comfort zone stands for. And for that, Katatonia are commendable.
