When it comes to Swedish bands that have left an indelible mark on heavy metal, Katatonia is one of my favorites. With a rich history spanning over 30 years, their twelfth studio album, “Sky Void of Stars,” released on January 20, 2023, deserves a deep dive.

It’s perfectly normal for a band that has been making music for over three decades to explore different sounds. In fact, I believe it’s necessary. Katatonia’s sound has always evolved but never to the point of being unrecognizable. Whether you love their progressive side, their death metal vocals, or their melodic and gloomy music, Katatonia has always focused on creating dark and melancholic music across different metal genres.

Many metal fans don’t like it when their favorite bands go in new directions. They might stop listening, complain about a return to the old days, or restrict themselves to listening to their favorite period of the band. But Katatonia, which sounds nothing like the music they made in the early ’90s, manages to keep their fans engaged by staying true to their melancholic roots.

I can say I thoroughly enjoyed the majority of “Sky Void of Stars.” This effect wasn’t quite there with their previous album, “City Burials.” That album followed “The Fall of Hearts,” which I consider one of the best albums of the last decade. While “City Burials” marked a return to their doom sound, it didn’t quite measure up for me. It was also released in April 2020, during the height of the Covid pandemic, which hampered its promotion and led to canceled tours.

“Sky Void of Stars” includes many instantly recognizable elements that have been heard over the years, from Renkse’s unmistakably soft vocal tones to the melancholic leads and the delicate embellishments of Anders Nyström’s guitar.

The opening track, “Austerity,” skips any unnecessary intro and starts directly with an urgent and sincere feel. The song has a catchy chorus and a tempo that varies throughout, making the aggressive parts shine brighter compared to the softer sections.

“Colossal Shade” hooks you from the start. As soon as the guitar riff kicks in, you can’t help but nod your head.

“Opaline” starts quietly and timidly but then greets us with a powerful, majestic chorus. It’s definitely a song that could make you listen to the album on repeat. I can already hear the audience clapping along during this song at a concert.

The fourth track, “Birds,” begins energetically with a strong rhythm and deeply emotional melodies from the guitars. Jonas’ sneaky, sarcastic melody takes it to a much stranger dimension. It’s definitely one of the most dynamic and powerful songs on the album.

“Drab Moon” could be considered the most atmospheric song on the album. It’s not a bad song by any means, standing on its own with a wonderful night-time atmosphere. Jonas’ delicate harmonies and the guitar magic from Nyström and Öjersson complete the song beautifully, but it does slow down the album’s momentum a bit.

The quality of the production shines through on “Author.” Even though the album title is mentioned at the end of the chorus, they chose to name the song “Author.”

“Impermanence” brings together two of my favorite Swedish vocalists. Joel Ekelöf from Soen joins the track, creating a perfect duet in an incredible ballad. It’s the most touching song on the album, defining melancholy beautifully. The solo that blends with the song adds a bittersweet touch.

I don’t think I’ll go back to “Sclera” often, but it’s a great transition track that contributes to the album’s solid, somber tone.

The ninth track and the first single from the album, “Atrium,” is undeniably one of the standout songs. The chorus will definitely stick in your head long after you finish listening to the album. It’s a beautiful song filled with gothic murmurs and supported by strings.

We close the album with one of the heaviest tracks, “No Beacon to Illuminate Our Fall.” As the album wraps up, we encounter an unexpected moment of death metal brutality with double-pedal drums, intense riffs, and wailing lead guitar notes. This moment lasts only a few seconds before giving way to more fragile sounds.

The bonus track “Absconder” continues the heavy rhythm. The term “bonus track” might suggest something lesser, but Absconder is definitely more than that.

I thoroughly enjoyed “Sky Void of Stars.” Looking back, I don’t think there’s a single Katatonia album I dislike. I can only compare them to each other. Whatever style of music Katatonia offers, it satisfies me. This album leans more towards progressive rock/metal sounds.

The album cover, inspired by all the lyrics, is a work of art. The crows flying through the streets during a heavy rainstorm and the worn-out car in the background make it fun to identify which detail belongs to which song.

I’m thrilled to be seeing this beloved band live again on January 20, 2024, at Istanbul Zorlu PSM. It coincides with the album’s anniversary, so who knows, maybe they have a surprise for us? Regardless, I’ll be there in my Katatonia t-shirt, bought during their 2020 visit, without setting my expectations too high.