Early Katatonia. For those of us ‘of a certain vintage’ (i.e. the wrong side of 30), this is an expression that generally tends to bring a whimsical, comforting sense of nostalgia to mind, echoing reminiscence of pastel-hued, obscure misery metal.
I am yet to meet anyone of my age who doesn’t bow down at the altar of Katatonia’s seminal late-90s records ‘Brave Murder Day’ and ‘Discouraged Ones’ and their palpable, tastefully-delivered sense of ennui and who doesn’t hold the band’s founding duo Anders Nystrom and Jonas Renkse in the highest esteem. However, there was a third person present throughout this creatively fertile period for the band and one that is frequently overlooked by fervent Katatonia-heads – Mr Fredrik Normann.
Whilst a valuable contributor to these definitive works, Normann has also been beavering away at his own death/doom project October Tide since around this time also. As Katatonia veered further and further from their roots towards a more alternative sound throughout the Naughties, October Tide were frequently referenced by old-school ‘tonia –heads as the ‘go-to’ band for those yearning for the deathlier sounds of yore.
Normann put it on ice in 2000 but upon leaving Katatonia in 2010, he has resurrected the project with a passion. ‘Tunnel of No Light’ represents the band’s second album in three years and fourth full-length overall. Given that Normann is responsible for 90% of the songwriting on this record, it is clear that October Tide is now his absolute priority and as the album progresses, this commitment is evident in the detail and care that has gone into the music here.
Not that it is immediately apparent. ‘Tunnel of No Light’ is one of the records that takes time to unfurl, that requires myriad listens for its numerous twists and turns to make sense. It is a sound firmly rooted in the familiar melodic doom-death category occupied by Swallow the Sun, Daylight Dies et al yet eschews the poppier sensibilities of these bands in favour of a more subtle, nuanced approach.
Sometimes, this really pays off. The way that the central refrain of ‘Our Constellation’ unwinds throughout the track’s slower opening half before blossoming mid-way through into a driving stomp overlaid with crystalline melody is a master-class of tasteful song construction. ‘Caught in Silence’ meanwhile is one of the rare moments that October Tide allow themselves to rock out and lock in to an infectious hook. It’s truly catchy and demonstrates that they can easily hold their own against their higher profile peers.
‘Watching the Drowners’ is another highlight – the brooding, shoegazey atmospherics give way to a monster of a riff towards the end, the whole song tied together with a palpable sense of darkness.
However, there are moments when it has to be said that Tunnel of No Light drags. This sort of style can walk a fine line between brooding, despondent power and wearisome drudgery – ‘The Day I Dissolved’ being a case in point, the doleful lead lines failing to stand out and elevate this slow-paced number above the mundane. ‘In Hopeless Pursuit’ is also baggy, the impassioned roars of Alexander Hogbom failing to rescue the song from getting bogged down in a doomy cul-de-sac.
Indeed, the album’s last three tracks are in many ways the weakest, lacking the hooks, definition and sheer song-writing flair of those that came before. Perhaps a little more variety in the vocals could have helped – Hogbom’s delivery is powerful but does not stray from the path of deep bellowing – but ultimately, it is the stodgy nature of the structure of these songs that lessens their impact.
If they had maintained the quality of the album’s first 30 minutes or so then I would be hailing ‘Tunnel of No Light’ as a real gem – as it is, it’s a good record for sure and enthusiasts of early Katatonia and reflective doom/death in general will find much here to enjoy.
(7.5/10 Frank Allain)
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