In recent years, metal rock bands of all persuasions have morphed into acts writing and playing the most atmospheric and emotional music. Melody appears to have become a priority consideration, while the previous often undecipherable vocals have been transformed into almost total clarity, communicating lyrics with depth and meaning. One still doesn’t expect to be carried away on happy-happy clouds, but one can dwell on the darkness and turbulence that lies just beneath the artifical surface created by the politicians, marketing men and money-lenders - caught in the blinding light of materialiasm, like lambs to slaughter.

Metal rock has therefore, in the generality, become more relevant and more accessible; at times epic, thought-provoking. There are of course metal bands who started life in this musical mode and very quickly went from ‘underground’ to ‘overground’ early in the piece, and usually via one astounding record. Metallica comes to mind immediately, a band who converted this sceptic to the cause a few years back. Ultimately, great music is about communication and right now metal rockers have leapt to the forefront, although many critics still do not recognise it - old habits die hard. Recently I reviewed an acoustic album by Within Temptation which blew me away while bringing me to the realisation that metal rockers have the skills and vision to meet virtually any musical challenge - something you cannot say about so many ‘mainstream’ bands.

Which brings me to this new record by veteran Swedish metallers Katatonia. I’ve never heard the band before on record and really didn’t know what to expect. On first listen I was uncommitted, but on playing it several times I felt it achieves most of the above-mentioned. High on my list of favourite tracks is the opener, ‘Forsaker.’ It thunders into existence before a clear vocal comes into view followed by the most deathly, hair-raising choruses. It’s an instrumental and production wonder in the way the atmosphere is created and held. ‘The Longest Year’ is toned down a couple of notches as it winds its contemplative way towards the synth and guitar rushed choruses. It’s nothing short of remarkable with changes of pace that defy description.

‘Idle Blood’ is up next with swooning orchestral strings and acoustic guitar providing the most beautiful introduction. The balance struck between acoustic and electronic is dazzling and magical. Earlier in this piece I mentioned the importance of melody, and this mutha offers it in truckloads. ‘Onward Into Battle’ opens in Tex-Mex guitar style with a devestating drum rhythm powering its way underneath. It’s another winner. ‘Liberation’ is patently ‘metal’ with that characteristic ocean-deep sounding guitars making their presence well and truly felt. But then the song changes to something less-hard, before reverting back to type. ‘The Promise Of Deceit’ has a galactic feel with its echoed vocal and spaced-out electronic samples, while ‘Nephilim’ rolls around darkly like a killer whale in the death throws before the waters calm for a minute, and then return in tidal wave proportions. Wow!

‘Inheritance’ sounds like the soundtrack to an old romantic movie before ‘Day And Then The Shade’ rumbles in like a road-train. ‘Departer’ ends the record in thoughtful, glacially-paced style, with slowly hammered piano keys and clattering drum beats, and the most expressive vocal performance on the album. A fitting end to a very good record which uses so many generic devices to achieve its aims. My only criticism is that there are not enough ‘hooks’ to really ancher these songs in one’s head, but in any event, strongly recommended.

4/5