We were certainly concerned when Swedish masters of melancholy Katatonia announced a sudden hiatus therefore the new album “City Burial” is undoubtedly a highly anticipated release and the stunning result of a constant sonic evolution destined to immediately spellbind all the faithful acolytes. 

“Heart Set To Divide” focuses on an overwhelming melancholia so Jonas Renkse’s heartfelt vocals rightfully steal the spotlight flourishing through the fragile atmospheric tapestries while guitars meticulously concoct rich melodic progressions that generate catchy rhythmic crescendos and fancy phrases. 

On “Behind The Blood” you can perceive bleak feelings but guitars swiftly build a super groovy energetic momentum emphasizing a memorable rocker style with galloping chunky riffs and explosive leads that gradually evolve into a brilliant shredding galore. 

“Vanishers” feels distant from the band’s heavy doom roots as the synths become very dominant to highlight the introspective depth and the cold melodic guitars surrounding a fascinating ethereal duet featuring guest vocalist Anni Bernhard. 

The gloomy splendor of “City Glaciers” relies on slow burning guitar melodies and gelid tonalities that embrace the poignant vocal delivery but will eventually shift to a harmonious yet absolutely groovy ensemble during the chorus. 

“Flicker” offers an elaborate blend of sinuous atmospheric waves and dreamy melodic guitars that naturally enhance the contemplative essence yet the fiery rhythmic section often dictates heavier monumental grooves. 

“Untrodden” continues to maintain a delicious brooding melodic approach with shimmering atmospheric layers and soothing guitar harmonies while the extensive soaring guitar solo brings an overdose of groovy rock magnitude that will captivate the listeners. 

Everything you love about Katatonia’s music is right here on “City Burials” which is a simply addictive opus as the band’s outpouring charisma is evident within the intricate gloomy soundscapes which constantly express authentic emotions. 

Norwegian legends Darkthrone return with the brand new album “Old Star” which this time unleashes a savage series of guitar driven grooves with prominent 80’s thrash & death/doom metal influences within a distinct dark sonic realm.  

“I Muffle Your Inner Choir” relies on consistent no frills heavy rhythmic patterns and the unmistakable ominous growls of Nocturno Culto creating a fiery sonic assault that doesn’t really need breakneck speed to make an impact and actually sounds more accessible than expected.

“The Hardship Of The Scots” focuses on an overdose of gritty guitar riffs leading to bold black n’ roll grooves that throughout the song will evolve into dramatically slower doom laden segments that certainly amplify the obscure undertones.

With a deeply darkened mood the title track again puts the spotlight on the extremely cold somber guitar work delivering the perfect dosage of dismal tonalities accompanied by venomous raspy vocals as the fiery black metal roots and the slower doom elements naturally embrace.  

“The Key Is Inside The Wall” definitely channels a sense of impending doom that recurs through the frenetic drumming and the relentless guitar riffs fueled by familiar menacing blackened elements while the slick guitar leads have the ability to create memorable gloomy melodic moments.

While you can always perceive a strong blackened force behind the songwriting approach of “Old Star” the iconic duo Fenriz & Nocturno Culto clearly aims to expand the music vision of Darkthrone that on this album generates constant groovy vibes with the addition of old school dynamics that inevitably make you feel nostalgic.

Featuring members from Paradise Lost, Katatonia, Opeth and Craft, Sweden’s shadiest death cult Bloodbath is the supergroup that every death metal acolyte dreams of and the long anticipated new album “The Arrow Of Satan Is Drawn”, the second with Old Nick on vocals, promises total sonic annihilation.

“Fleischmann” is simply vicious revolving around the sheer brutality of incessant rhythmic blasts featuring the expected relentless guitar riffing galore and plummeting drums within a claustrophobic mood where the brief darkened guitar melodies represent the only feeble sense of hope.

Straight to the point “Wayward Samaritan” offers loads of fast anthemic death metal grooves with the right dosage of chunky bass lines and ravenous riffage that will eventually slow down just to allow the guitar leads to stand out and Old Nick doesn’t disappoint delivering plenty of hellish growls.

Since the beginning the putrid sonic realm of “Levitator” features merciless monolithic guitar work naturally channeling absolute horror and other terrifying feelings fully amplified by gruesome growls and sinister atmospheric arrangements.

The old school approach of “Deader” is immediately evident as guitars diligently follow a savage rampage, often with breakneck speed, with belligerent riffs leading to a series of purely aggressive rhythmic assaults invigorated by blistering soloing.

Monstrous guitar driven grooves lead the way on “Only The Dead Survive” fueled by a familiar primordial energy that generates ominous blackened rhythmic variations through the expected classic approach with wicked riffing and thunderous drumming.

Despite the title “Chainsaw Lullaby” is definitely not a lullaby but rather sounds like a horror gore/slasher soundtrack as evil screams and infectious guitar riffs confidently build blood splattered grooves that don’t really need excessive speed but definitely benefit from the underlying solemn atmospheric darkness.

If you are in the mood for uncompromising old school death metal you will be delighted by “The Arrow Of Satan Is Drawn” but it should be noted that this time Bloodbath’s music feels a bit more adventurous adding a dramatic momentum to the truly nightmarish soundscape.