Katatonia
Sanctitude

THE REVIEW

They borrowed a church in London and set up the stage and instruments, resulting in one of the most beautiful unplugged sessions in recent years.

Perhaps the location was just to sell the DVD, but the choice didn't turn out to be risky. And yes, Katatonia have always been, in their own way, extreme. From their black/doom metal beginnings to their current evolution, they have reached a very particular dark sound, which emerges even more original and innovative with this second acoustic endeavor - following the "Dethroned and Uncrowned" (2013) experiment.

"Sanctitude," therefore, published primarily as a live experience for viewers, sounds even more definitive and complete to the listener, as if it were their own "made in Japan."

The Scandinavian band's decision to include only one track from "The Great Cold Distance" (2006) might discourage less attentive fans, but it reveals the intention to select tracks that allow for the use of new atmospheres, made possible by acoustic arrangements.

The opener is "In The White": J. Renske begins to recite in his pale tones: "are you in or are you out, words are stones in my mouth." His timbre is even colder than usual in this context. It is followed by the splendid interpretation of "Ambitions": with each attack of the guitars on the choruses, the piece is regenerated with new creative energy. Just these two tracks are worth the entire album. In fact, the Swedish singer already greets the audience and doesn't hide behind the mask of the stage: "hello London. It's so good to be here.... I believe we're all very nervous, but I think it will work out anyway out".

Noteworthy is the attention with which the strings and carpets have been redesigned, even in those tracks that hadn't been revisited in the previous work: "Teargas" is just one example.

And while the keyboards may not have undergone excessive restyling, the percussive parts have been muted – an indispensable option given the acoustics of a church. In "Evidence" and "Sleeper," the drums have been transformed into djembe, as well as in "Day," which entirely loses its original inspiration borrowed from Joy Division, but gains in originality.

Using the same percussive solution for a piece already semi-acoustic like "Omerta" adds nothing to the studio version.

The overall result is that not all songs have been revolutionized, which, however, doesn't risk transforming "Sanctitude" into an unplugged like so many other uninspired ones. Thus, even "Undo You" and the concluding "The One You Are Looking For" - the latter a duet with a Norwegian singer borrowed from The Gathering - echo what was already heard in the 2013 work and differ only partially from the original versions present in "Dead End Kings" (2012). In recent albums, in fact, Katatonia had already developed a new, well-defined stylistic personality, which we hope is still perfectible.

Even "Idle Blood," the only track from "The Night Is The New Day" (2009), can be ascribed to the aforementioned category of already mature compositions, which therefore didn't need to be revolutionized to be included in this setlist.

Having bid farewell to the Norman brothers, the core of Katatonia remains in the Reske/Nyström duo - vocals and guitars respectively - something that should allow the project to maintain its distinctive stylistic character. Indeed, we can expect them to move forward, hoping they won't soften the sounds too much in their next studio work.

A final note for the version of "The Racing Heart": a passionate interpretation, outlined in light and shadow with the dynamic play between verses and chorus, which still retains an untouched novel dark verve. Unthinkable, just ten years ago, that they could color their tones with sinister and cold light right within the Apollonian acoustics of a Gothic cathedral. The mistake of underestimating a heart that beats.