Style: alternative rock, progressive metal (clean vocals)
Recommended for fans of: Anathema, Soen, Opeth, Porcupine Tree
Country: Sweden
Release date: 6 June 2025

Few metal bands have a body of work and influence quite like Katatonia. Over more than thirty years, the group has released thirteen studio albums and spawned about a thousand bands inspired by the moody, alternative brand of metal they’re renowned for. At the Subway, Katatonia is one of the bands most often listed in the “for fans of” section of our reviews, their name alone exuding a distinct type of dark melodicism. And say what you will about any individual release, but the band’s discography is legendary—moving from death/doom to gothic to varying shades of prog-tinged alternative with a nearly unmatched level of finesse and consistency.

Nightmares as Extensions of the Waking State comes months after a somewhat messy split with guitarist and co-founder Anders Nyström. Still, vocalist and co-founder Jonas Renkse wrote the band’s last two albums on his own and has done so again here, setting this one up to be business as usual. Some may bemoan this: following 2016’s phenomenal The Fall of Hearts, Katatonia’s past two albums were received largely as competent but not particularly inspired. And Renkse himself recently expressed some discontent with being the group’s sole songwriter, lamenting that it’s “sometimes very lonely; I would love the bouncing back and forth of ideas.” But any new Katatonia release is a welcome occasion, offering another opportunity to get lost in the somber and austere—yet strikingly lush—atmosphere the band has mastered. With Nightmares as Extensions of the Waking State, does Renkse find inspiration in isolation?

True to form, Nightmares holds plenty of engrossing synth textures, a groovy undercurrent of slightly off-kilter rhythms, and the gracefully restrained but emotive vocal performance we’ve come to expect of Renkse. Opener “Thrice” showcases Katatonia’s signature qualities at their most compelling, fitting a winding composition into a dynamic four and a half minutes that builds momentum and keeps intrigue throughout. Being perhaps the heaviest and most progressive song on the record, “Thrice” kicks things off on a bold note before the album settles into a sustained, more subdued flow. To be sure, the album’s intensity swells on occasion along the way. The brooding “Winds of no Change” features big, choral chants not previously as potent in the band’s music, and “The Light Which I Bleed” boasts a massive, strings-laden outro that plays on an earlier motif—it stands as the album’s high-water mark, though it fades out far too quickly. These aren’t the only energetic passages—the ripping solo in “Temporal” warrants a shout—but for the most part, Nightmares is gloomy and relatively lethargic.

Gloom and lethargy aren’t exactly negative descriptors when it comes to Katatonia, each playing an important part in the band’s sound. “Lilac” wields them beautifully, especially in the heavenly couple of minutes that close the track, where floating synths and haunting vocals accent a passage gently pushed forward by poignant guitars and restrained yet intricate drumming. However, the rest of Nightmares isn’t as successful in this vein; its tracks generally plod along without much variety or conviction. “Efter Solen” (“After the Sun”) at least offers something new, an understated cut sung in Swedish and grounded in soft electronica, but it’s notable more for these features than its impact. Ultimately, outside of the few parts outlined, I’d be hard pressed to pinpoint any exciting songwriting. In fact, I’d have a hard time recalling any other specific moments. The album sits in the ears pleasantly, though unremarkably. 

In Nightmares, you can hear Renkse’s apparent desire for a less isolated songwriting experience—it’s easy to imagine collaborators invigorating the compositional ideas, and especially giving wings to the album’s strongest sections. A few more layers to the back half of “Efter Solen” could have made it a standout; the motif and outro in “The Light Which I Bleed” could have been built upon and modulated to exceptional effect; and more of the delightfully detailed but accessible passages like those in “Thrice” and “Lilac” might have taken form. Alas, the album continues the band’s trend further away from engaging and resonant and closer to simply passable. Katatonia remain masters of creating a distinct, compelling atmosphere, but the once-sharp songwriting is dulling. 

Hopefully, Nightmares as Extensions of the Waking State is the closing of one chapter for the band, and the next is one of revitalization. Although the album is enjoyable, laying a few surprises and moments of inspiration atop Katatonia’s recognizable style, the need for a creative spark is clear. As with the two releases before it, too much of the album simply passes through the mind without leaving an impression—a shame for a band capable of delivering far more. Fortunately, Renkse has shifted the band’s sound several times before to great success, so it’s easy to remain optimistic that Katatonia’s next effort will have more staying power.

Recommended tracks: Thrice, Winds of no Change, Lilac, The Light Which I Bleed
You may also like: In the Silence, Oak, Ghost Brigade
Final verdict: 6/10

Related links: Bandcamp | Spotify | Official Website | Facebook | Instagram | Metal-Archives

Label: Napalm Records – Bandcamp | Facebook | Official Website

Katatonia is:
– Jonas Renkse (vocals)
– Niklas Sandin (bass)
– Daniel Moilanen (drums)
– Nico Elgstrand (guitars)
– Sebastian Svalland (guitars)

The post Review: Katatonia – Nightmares as Extensions of the Waking State appeared first on The Progressive Subway.

Style: groove metal, metalcore, djent (mixed vocals)
Recommended for fans of: Avenged Sevenfold, Spiritbox, Gojira, Lamb of God, Meshuggah
Country: Ukraine
Release date: 7 February 2025

Is groove metal a real genre? Some people make the claim, but I’m not so sure. Google may say it’s a genre defined by chugging, palm muted guitarwork with extensive use of double bass pedals and downtuned guitars, but does that not describe the entirety of modern metal? And if something isn’t groove metal does it mean it can’t be groovy? For something seemingly so ubiquitous, there really is no clear or satisfying definition, and it’s almost certainly easier to just identify groove metal releases as they come up. Thankfully, Jinjer makes it easy for us on their latest release Duél.

For any groove-based genre, a strong rhythm section is paramount. Thankfully, after honing their sound on 2019’s Macro and 2021’s Wallflowers, bassist Eugene Abdukhanov and drummer “Vladi” Ulasevich have delivered what is undoubtedly the best performances of their career on Duél, leaving no doubt that Jinjer has their rhythm section covered. Adventurous slaps and pops that wouldn’t sound out of place on a Job for a Cowboy track accentuate the decidedly tight drumwork in the album’s heavier moments while tasteful bass breaks and intelligent cymbal use highlight the lighter sections on tracks like “Tumbleweed.” The guitarwork courtesy of Roman Ibramkhalilov nestles neatly into the remaining sonic space, rarely adventuring out into the open but leaving its mark when it does during moments like the brief solo of “Green Serpent.”

Still, Jinjer remains a decidedly vocal-centric band, and Tatiana Shmayluk remains one of the most dynamic vocalists in the modern metal scene. Spewing catty witticisms left and right, Tatiana’s vocals run the gamut from gentle croons to harsh bellowing lows and searing highs. Romps like “Rogue” and “Fast Draw” get down and dirty with their straight ahead heaviness, while tracks like “Kafka” and “Someone’s Daughter” do well to show off Tatiana’s vocal range with their proggy yet lean song structures. Unfortunately, Duél remains plagued by what is perhaps my biggest pet peeve in regards to Jinjer, and that is the lyrical emphasis. To put it simply, it often sounds like one too many syllables are squeezed into a phrase making the whole thing feel off kilter, especially during the clean vocal sections. Perhaps it’s a symptom of a band writing in their second language, but I can’t always fully jive with the seeming lack of flow in the clean vocal patterns.

Unfortunately, that lack of flow also seeps into the track listing. At an already lean forty-three minutes and with no track exceeding five minutes, Duél is a brisk listen, but I am not so sure that each track earns its fair keep. For every “Green Serpent” or “Fast Draw” on the track list that engages the listener with its dynamic snowballing riffage or vibrant raw intensity, there’s a “Rogue” or “Dark Bile” that gets bogged down in its verse-chorus-verse song structure and overall sameness. In individual chunks, Duél is peachy keen, but the totality is a disjointed album experience full of ups and downs that leaves me satisfied in parts but ultimately miffed by the time the album’s closer rolls around, especially with its goofy false ending.

Jinjer seems to have honed in on their sound on their past few releases, and Duél sets the band’s proggy blend of groove metal and metalcore in stone. Featuring what is undoubtedly the best production treatment that the band has had yet, the album is the product of four amazingly talented musicians operating at the top of their respective craft yet getting lost in the finer details of the album as a whole. I know that Jinjer has a genuine magnum opus somewhere in their future, but it seems as though Duél is just another stepping stone along that path.

Recommended tracks: Green Serpent, Kafka, Someone’s Daughter
You may also like: Dawn of Ouroboros, Vintersea, Rannoch
Final verdict: 7/10

Related links: Bandcamp | Spotify | Official Website | Facebook | Instagram

Label: Napalm Records – Bandcamp | Facebook | Official Website

Jinjer is:
– Tatiana Shmayluk (vocals)
– Roman Ibramkhalilov (guitars)
– “Vladi” Ulasevich (drums)
– Eugene Abdukhanov (bass)

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