Gladiator (2000) 10th Anniversary Edition

This album from Katatonia, their first studio effort since 2006, is as moody and beautiful as their other latter-day work. The group's career can be marked in two stages based on the condition of singer Jonas Renske's vocal cords - basically, after the band's first two albums, he developed health problems that prevented him from performing harsh death growls, and ever since the band has moved in an increasingly melodic direction, even covering songs by Will Oldham and Jeff Buckley…

Whether or not this album's title refers to bluesman Robert Johnson's classic song of the same name, Katatonia is still singing the blues in their own way here, even if their style has nothing else to do with the blues as a genre. Continuing in the vein of their previous release, Tonight's Decision, this is depressing, heavy alternative rock with a notable Cure influence - Katatonia is not really playing metal anymore here. The production has been sharpened on this album compared to its predecessor, accentuating the quiet verse/loud chorus dynamics the band so often uses, making the loud parts hit harder and the softer parts come through with more detail. Meanwhile, frontman Jonas Renske has continued to grow as a vocalist, showing greater range while also maintaining that worried, defeated delivery…

The 2013 re-release features new keyboard arrangements and was completely remixed and remastered by David Castillo, as the band wasn't satisfied with the overall sound and production of the original release.
The Swedish kings of gloom and doom return with perhaps their mst balanced outing yet. Two years after Discouraged Ones marked a turn from the dark metallic mayhem of earlier records uch as Dance of December Souls and Brave Murder Day, it was 2000's Tonight's Decision and 2001's Last Fair Deal Gone Down that carved out the uniqueness in their sound. Here are equal parts dark gothic pop, crushing heavy rock, textured keyboards, lithe pop melodies, beautifully crafted songs with unique dynamics and sculpted sonic environments to surround them, and bleak, even morose subject matter…

If any proof were needed that anticipation was at a fever pitch for Alcest's second full-length album, it could be found in the fact that a clever leak of Écailles de Lune that made the rounds before its release was rabidly snapped up worldwide even though most of the tracks came from a compilation of Chinese black metal acts. But the fact that it was treated as the real thing shows how strong Alcest's own aesthetic mark has been made already, and Écailles de Lune makes the most of its compelling fusion of black metal's theatricality and the after-echoes of shoegaze's propensity for utterly enveloping a listener, even if bandleader Neige approached that sound unconsciously at first. The first half of the two-part title track that begins the album starts with a gentle guitar chime before the full skyscraping riff kicks in, but - instead of getting even more intense as it goes - it's happy to turn even more elegantly beautiful…