Katatonia’s new concert film ‘Sanctitude’ is OUT NOW
In September 2013 Kscope released Dethroned & Uncrowned, a reworking of the band’s 2012 epic Dead End Kings (originally released on Kscope’s sister label Peaceville). Dethroned & Uncrowned allowed Katatonia the opportunity to explore a more progressive sound, creating new moods and textures while still staying truthful to the core of the original songs.
Katatonia took Dethroned & Uncrowned on the road in Europe for the first time in May 2014 under the moniker ‘Unplugged & Reworked’. They presented an intimate acoustic evening, performing tracks from the album alongside atmospheric classics from their entire career, stripped and reworked. Each venue, on the tour, was carefully chosen for its unique atmosphere. They were joined on guitar & vocals by The Pineapple Thief frontman and songwriter Bruce Soord.
Sanctitude is a concert film filmed and recorded in the stunning candle-lit setting of London’s Union Chapel. The 80 minute set features 17 songs across the albums The Great Cold Distance, Viva Emptiness, Brave Murder Day, Last Fair Deal Gone Down and of course, Dead End Kings / Dethroned & Uncrowned, including fan favourite ‘Teargas’. The show closes with the sublime ‘The One You Are Looking For Is Not Here’ and a special guest appearance by Norwegian vocalist Silje Wergeland of Dutch legends The Gathering.
Katatonia’s Anders Nystrom comments on the release“As a band we set out on uncharted waters but while apprehensive about the journey ahead our intentions couldn’t have been more genuine to undertake this beautiful experience. Sailing this project into harbour turned out to be bliss and has ultimately enriched all the members of Katatonia.”
All audio on Sanctitude has been mixed & mastered by Bruce Soord of The Pineapple Thief. With artwork once more supplied by long-time visual collaborator Travis Smith.
No matter how brightly the sun shines, sorrow will always cast its ageless shadow across the human soul. Expressing that eternal sadness is an art in itself, and over the last two decades, Sweden’s masters of melancholy Katatonia have firmly established themselves as the most passionate and skilful exponents of the form.
Formed by vocalist/drummer Jonas Renkse and guitarist Anders Nyström in Stockholm in 1991, the band emerged from the amorphous maelstrom that was the nascent death/doom metal scene; a darker, more emotionally resonant sibling to the ongoing extreme metal world, and one that offered a new and more humane perspective on life’s darker days.
The band’s first releases, the Jhva Elohim Meth…The Revival EP and debut album Dance Of December Souls may have seemed to draw from the same set of influences that inspired like-minded bands across the North Sea like Paradise Lost and My Dying Bride, but by the time Katatonia arrived at 1996’s Brave Murder Day (which featured guest vocals from Opeth’s Mikael Åkerfeldt), the band had already begun to plough their own tearful furrow.
“Initially we had no masterplan,” says Renkse today. “All we wanted was a band of our own, as we were totally devoured by the death and doom metal scene that was happening. It wasn’t until later that we could actually carve out our own space and see things with a broader perspective. Katatonia has become a philosophy, at least for ourselves, since it is pretty much all we have. It’s dark and personal music and lyrics, no matter what the environment around us.”
In 1998, Katatonia released Discouraged Ones, an album that saw them step away from more traditional doom-laden atmospheres into an increasingly distinctive sonic world. Incorporating a wide variety of influences, from gothic rock to dark folk, the band’s evolution was gathering pace and their songwriting was maturing accordingly. With Jonas Renksestepping away from the drum stool to focus on his role as vocalist, the Katatonia sound became more focused and intense on 1999’s Tonight’s Decision; a bravura collection of downbeat hymns to the void that set the tone for the new decade that followed.
“Most of our evolution has occurred naturally,” explains Renkse. “We started as Paradise Lost fanboys, but now I think we have a different sound, something we have crafted over the years. With every new album we try to push the boundaries of songwriting and expand the concept of Katatonia without abandoning our foundation and roots.”
As the 21st century has progressed, Katatonia have become one of the most revered and cherished of all bands in the modern heavy music firmament. Through extensive touring and a steady stream of superlative studio releases, including 2001’s classic Last Fair Deal Gone Down and its coruscating 2003 follow-up Viva Emptiness, the Swedes have spread their baleful gospel across the globe, refining and redefining themselves with every step into new territory. With 2006’s The Great Cold Distance and, in particular, 2009’s universally acclaimed Night Is The New Day, Katatonia have stretched beyond their roots in the metal scene and drawn in fans from all across the musical spectrum, not least in the progressive rock realm that has also embraced peers like Opeth and Anathema in recent times.
In August 2012 the band released Dead End Kings, their ninth studio album and their most successful to date. The album marked another step in this journey towards a more progressive sound.
Dead End Kings was recorded with a new line-up, in which Renkse and Nyström were joined by guitarist Per Eriksson, bassist Niklas Sandin and drummer Daniel Liljekvist. Together they created a rich, adventurous and endlessly evocative masterwork that exhibits all the Swedish quintet’s established traits while absorbing countless fresh ideas into that monumental sonic brew.
“Dead End Kings represents progression and taking things to the next level,” concludes Renkse. ”The writing was a little more intense and spontaneous for this one. I think that’s the biggest difference. But it was made with the same mindset as the last few albums. It just had a little more fire involved. We don’t want to repeat ourselves. We are still hungry for new music.”
The band return in September 2013 with Dethroned & Uncrowned, their first album for Kscope, the sister label to Peaceville, the band’s home for the past 14 years. Dethroned & Uncrowned allows them to explore the progressive elements of Dead End Kings further as they have reworked the album, creating new moods and textures while still staying truthful to the core of the songs.
Guitarist and founding member Anders Nyström explains how the band have revisted the album, “the synopsis is simple and album title won’t lie; the drums will be dethroned and the distorted rhythm guitars will be uncrowned! Instead, we’ll place the emphasis on the many layers of ambience, with the melodies staying central and the vocal harmonies representing the heart of the album.”
Bruce Soord with Jonas Renkse
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