Sebastian Svalland, the newest member of Katatonia, shares his thoughts on stepping into the band’s legacy, his approach to music, and how the band’s atmospheric sound resonates in today’s world. From his musical influences to his personal connection with the album “Nightmares as Extensions of the Waking State“, Sebastian offers a candid look at what it means to be part of such an iconic group.
Sebastian, welcome to DEPART. It's a pleasure to have you with us. How are things on your end these days—and where do we find you currently?
Sebastian Svalland: I’m at home, in Sweden—just taking it easy. We had Mother’s Day yesterday, so I was over at my mom’s on Saturday. We ended up drinking what felt like five million liters of wine, and I’m definitely still feeling it today. I’m 35 and haven’t had a hangover in five years because I usually don’t drink. Guess I’m out of practice. But I’m good to go—let’s do this.
First and foremost—how does it feel to now have your name officially tied to a recording by a historic band like Katatonia? And how did this collaboration first come about?
It feels great, honestly. Katatonia is a band I’ve listened to long before becoming part of it, so having my name tied to one of their recordings is a bit surreal. The whole thing came together quite randomly, but I’m genuinely happy about it. Playing with the guys has been a lot of fun, and performing the songs live is always a great experience.
As for how it all started—Jonas got in touch through a mutual friend, and we met up in Stockholm. We had some good food, chatted a bit, just trying to get a feel for each other. You know, like: “Are you cool? Can we work together?” A casual way to break the ice. Then we played a few festivals, and everything just clicked. It felt right.
So it all came about quite naturally, then. Would you say it felt like you were simply the next in line—the natural heir to the throne, so to speak?
Maybe, but I wouldn’t put it that way. I think it’s more about chemistry than succession. When you’re in a band, what really matters is that you get along—that you enjoy spending time together. You’re going to be on tour buses, stuck in tight spaces, dealing with long days and short tempers. If you don’t click as people, it’s going to show. For me, that’s one of the most—if not the most—important parts of being in a band. The group’s energy off stage inevitably shapes what the audience feels on stage. It’s all connected.
I’ve been a Katatonia fan myself since around 2005 or 2006—and that brings me to something that’s always stood out. Katatonia’s signature has long been tied to the darker side of human emotion: angst, depression, fear, anger. As Sebastian, how do you personally approach these emotions? And how do you channel them into your playing and creative input?
It’s a different kind of thing, really. I might seem like a pretty goofy, happy person most of the time—but I think everyone carries some level of darkness inside, even if it’s not visible. Maybe some of it is too dark to show, or maybe it just doesn’t come to the surface. But it’s there.
That’s one of the things I really appreciate about Katatonia. There’s space in the music for those deeper, heavier emotions. And my approach is simply to stay true to that. I just try to play in a way that feels authentic—because I am being authentic.
You’ve played in bands that span a wide spectrum—from progressive death metal to industrial and doom. Each comes with its own creative language and set of demands. Looking back on those chapters—from Letters from the Colony, to Lindemann, to In Mourning—how have those experiences shaped you, not just as a guitarist, but as a performer and collaborator? And how do you feel they’ve prepared you for your role in Katatonia—a band with such a distinct, emotionally driven sound?
I think everything you do gives you something—obviously. And in some cases, it’s pretty clear what I’ve taken from each band I’ve played with. If you look at the different styles—progressive, industrial, doom—you can probably imagine the kinds of ideas and influences I picked up along the way. In the end, all of it has been positive. Every project, every fanbase, every sound—it’s added to my experience and helped shape the way I express myself. The road hasn’t exactly been straight, but it’s definitely given me something valuable.
Katatonia’s sound has always carried a strong emotional core—an atmosphere that fans connect with on a deeply personal level. As someone now stepping fully into that legacy, how did you first relate to their music, whether as a listener or a fellow musician? And how has that connection evolved now that you’re actively helping shape the band’s present and future? On a more personal note—do you have a favorite Katatonia record?
The first time I heard Katatonia, I think it was “The Great Cold Distance”. A friend of mine—he’s the singer in Letters from the Colony—was the one who introduced me. He works at Fascination Street Studios now, with Jens Bogren. Back when we were younger, we used to listen to a lot of Jens’s productions, and he had worked on that Katatonia album. He played it for me, and I remember thinking: “Wow, this sound is incredible.” The production has this timeless quality—it doesn’t feel tied to a specific era. It just holds up.
That’s where it all started for me. The songs on that record are so well balanced and easy to connect with—you can just press play and disappear into them. Over time, of course, I’ve gotten deeper into their catalog. I really love “Dead End Kings”, and “The Fall of Hearts” is another one I think is incredibly cool. What amazes me is how few bands can spread out stylistically like Katatonia does and still sound entirely like themselves. The palette is wide, but the identity stays intact.
It’s hard for me to pick a single favorite album. Maybe I could name a favorite song—but even that changes. For instance, I asked if we could play “Dead Letters” at a recent show, just because I’d never played it live and really love that track. So maybe that’s my current favorite… although ask me again in a few months and it might be different. That’s the beauty of it.
For me, “Discouraged Ones” has always held a special place. I remember hearing it for the first time on a bus ride during Easter—sun setting, discman on—it felt like it carved itself into my memory.
Sebastian Svalland: Yeah, it’s really good. I think every record has something like that—something you can really feel. There’s always a moment, a sound, a mood on each album that hits in a certain way.
Katatonia has always had a deeply atmospheric sound, and with such a long history—even from the days of CDs—it carries a certain legacy. As a listener, I’ve always felt there are distinct eras: from "Brave Murder Day" and "Discouraged Ones" to the later, more polished sound after Steven Wilson’s involvement. Now that you’re officially part of the band, what aspects of your own musical identity do you hope to bring into this new era—and how do you balance that with respecting a sound built over decades?
Well, the truth is, “Nightmares as Extensions of the Waking State” was mostly written before I really became involved, so I didn’t contribute much to what’s already out there. But looking ahead, in terms of what I could bring, I’d say my musical identity is very riff-driven. That’s a big part of how I write.
If I do bring something to the table, it’ll probably lean more into that kind of riff-based approach—not exactly like the bands I’ve played with before, but naturally filtered through how I understand Katatonia’s sound. I don’t know yet what that might look like, but I’m excited to explore it. At the same time, I know there’s a certain standard when it comes to this band. The catalog speaks for itself—there’s real quality there. So if I come up with something good and it fits, great. If it doesn’t, that’s fine too. What matters is keeping that level intact.
You mentioned your tendency toward riff-based writing—but I have to say, when listening to "Nightmares as Extensions of the Waking State" over and over, what stood out to me wasn’t the riffs. To my ears, it’s built more on ambient soundscapes—almost cinematic, sometimes even evoking that New York jazz vibe. It’s like sitting in a rainy café, watching the world go by, lost in thought. Was that kind of mood something you were aiming for—or is that just my personal reading of the record?
I think what’s great about “Nightmares as Extensions of the Waking State“—and really, many Katatonia albums—is that they’re deeply atmospheric. Like I said earlier, that’s always been part of the band’s identity. The degree might vary, but the atmosphere is always there. What I personally love is when music becomes visual just through listening. That’s something really powerful, and I think Jonas is especially good at creating these big, immersive walls of sound. And honestly, the way you described it—sitting in a café, watching the rain, lost in thought—I don’t think there’s anything wrong with that interpretation. It’s a very visual, emotional experience, and I really like that.
Katatonia has always felt rooted in urban atmosphere—less nature, more the weight of modern life: psychological, social, even spiritual. But this record surprised me. At times, it felt almost mellow, even chill-out in parts. Was that an intentional shift—or is that just how I heard it?
I think these things are really hard to pin down. Everyone interprets music differently—and that’s what I find so beautiful about it. If you felt “Nightmares as Extensions” was mellow, then that’s totally valid. Someone else might hear it and say, “This is the darkest thing I’ve ever heard.” Or even, “What are these guys doing? Go home, old man.” And that’s fine too. The point is, if you create music with a certain vibe and people end up experiencing it in completely different ways—even emotionally—that’s fucking great. That means it’s alive.
Do you feel "Nightmares as Extensions" cover art reflects what listeners are about to experience when they press play—whether it's on CD, vinyl, or Spotify? Or is there a deliberate contrast between the visual and the music itself?
These things are really hard to define. I mean, I do think it’s a beautiful piece of artwork—you can stare at it, feel something, let it hit you in whatever way it does. But when it comes to visuals like this, I find it difficult to analyze or explain. I’m a pretty straightforward person—I like clear definitions. So when things are open to interpretation, I tend to just let them be.
Sometimes album covers match the music perfectly, and sometimes they don’t—and that’s okay. Like, there’s this King Gizzard record, “Murder of the Unive rse”, with a cow on the cover. You look at it and think, “What the hell is this?”. But that’s the beauty of it—it’s abstract, it’s unpredictable. In this case, I didn’t even know Jonas was working with the artist. When he first showed it to me, I had to laugh a little—because on a previous album I did with another band, we also had a deer on the cover. I think In Flames did too at some point. So yeah, totally unintentional, just a funny coincidence. But overall, I think it’s cool. It fits in its own way.
Yeah, I get what you mean. Personally, the cover reminded me a lot of Princess Mononoke—specifically the Forest Spirit, that elder deer god symbolizing destruction and rebirth in the natural cycle. Was there any connection between that imagery and the album’s themes, or is that just my own association?
I don’t think Jonas really knows what “Princess Mononoke” is, but I get what you mean. But yeah, it’s definitely like a doorway you need to step through. So yeah, I totally understand the Princess Mononoke reference now. It’s funny because both you and I have now admitted we’re nerds — we watch anime. When I was younger, I used to think people who watched anime were nerds, in the bad sense. I’d see it and think, “What the hell is this?” But then I actually watched some, and I thought, “Wow, this is amazing.”
Nowadays, I’m proud to say I like it. People can mock it or call it nerdy — I don’t mind. What you like is what you like, as long as it’s not harmful. I find it funny how we sometimes criticize things before we even give them a chance — that’s just human nature, I guess. But like any art form, there’s lots of great stuff out there if you’re open to it. So yes, even if the connection isn’t direct, what you said totally makes sense.
Since I mentioned Hayao Miyazaki—he often critiques the modern world, not as something evil, but with a kind of quiet resistance, especially when it comes to geopolitics and environmental concerns. And right now, we’re living through incredibly tense geopolitical times. Would you say any of that reality is reflected in the new album—or did you aim to create something that intentionally moves beyond the present moment?
That’s a tough one for me to answer, to be honest. One reason is that I don’t engage with lyrics the way most people do. I tend to hear vocals more like an instrument than a message—it’s just how I’ve always approached music. So putting music into words, or interpreting deeper lyrical meanings, isn’t really something I do naturally.
Maybe I’m missing out on something by not diving into the lyrics more, but for me, it’s always about how the music feels. I can say something gives me a certain vibe, but beyond that, I’m not analyzing.
So I honestly can’t say if this album is meant to comment on the state of the world. What I do know is that the world is kind of a mess right now—and music, for me at least, is a place to escape from all of that. It’s not about ignoring reality, but about finding a space where you can breathe. Of course, I know not everyone has that privilege, and for some, music can’t fix anything. But for me, it’s a form of escapism—and I think that’s valid too.
As we’re approaching the end of the interview, I’d love to ask something a bit more personal. During the time you were recording the album, were there any artists—musical or otherwise—that inspired your creative process? And now that the album is finished and out there, what’s on your current playlist or watchlist? What kind of art does Sebastian gravitate toward when he’s not making music—what does he consume, and what speaks to him?
It’s always different for me. One of the best feelings I know is discovering a band that completely takes over my brain—where I hear one song and suddenly I have to listen to it on repeat. That kind of obsession doesn’t happen often, but when it does, it’s the best. It’s happened a few times over the years, and one of the more recent ones was Radiohead. Honestly, I didn’t expect to like them. I had that idea a lot of people have—you know, “Radiohead? Isn’t that just ‘Creep’?” But then I dove deeper and got absolutely annihilated by how good they are. When “Kid A” hit me, I realized, “Okay, this is a whole other world.”
Another band I love is Karnivool, from Australia. They always work for me. I’m honestly kind of annoyed right now because they’re playing Brutal Assault in Europe, and I just want to be on that lineup so I can go see them live. They’re that good.
As for my playlist—it’s pretty random. I throw in songs I like, even if I don’t fully understand why. Some of them are tracks I wouldn’t normally go back to, but at some point, they hit me in the right way. So it’s very mood-based. During the album process, I can’t say there was one specific artist that shaped my input—but what I listen to now really depends on the day and the headspace I’m in.
I totally get you—and thank you so much for taking the time to speak with us. It’s been a real pleasure. We hope to see you again soon in Athens.The closing words are yours.
I would absolutely love to come and play in Athens. Coming from Sweden to a beautiful country like Greece—where you can wear shorts, feel the summer, see the landscapes, swim in the sea—it just sounds like paradise. I’d love to do a show there, have some great food, enjoy a good drink, and jump into the sea. Let’s make that happen!
Thank you very much for your time. Take care, and it’s been a pleasure speaking with you.
Artist: Sober On Tuxedos
Album: Good Intentions
Label: Heaven Music
Release Date: 11/12/2020
Genre: Nu Metal, Metalcore
Sebastian SvallandKatatonia (OW) | Facebook | Instagram | X/Twitter | Spotify | YouTube | Bandcamp | Deezer | SoundCloud
