Band:	Altar Of Oblivion
Album:	In The Cesspit Of Divine Decay
Style:	Doom metal
Release date:	June 28, 2024
A review by:	AndyMetalFreak

01. Nothing Grows From Hallowed Ground
02. The Fallacy
03. Ghosts In The Trenches
04. Mark Of The Dead
05. Altar Of Oblivion
06. The Night They Came
07. Silent Pain
08. Damnation
09. In The Cesspit Of Divine Decay
10. Wind Among Waves

Here are tales of The Great War told from the Altar Of Oblivion in traditional, epic doom fashion.

Denmark isn't particularly well-known for harbouring many traditional doom acts, but here's one that can't be ignored: Altar Of Oblivion, a band formed in 2005, whose style is mainly rooted in 80s traditional heavy and epic doom. This puts them in the same category as bands such as Solitude Aeturnus, Atlantean Kodex, and Candlemass, to name but a few. Now onto this band's 4th full-length offering to date: In The Cesspit Of Divine Decay, an album with a concept based on the diary of guitarist Martin Meyer Sparvath’s maternal great-grandfather Jesper Wilhem Meyer, who reluctantly fought for the German Empire during World War I (1914-1918). I suppose you could say this theme indicates the makings of a traditional epic doom classic, especially when also looking back to what this band have put out previously (particularly their sophomore effort Grand Gesture Of Defiance). But the question is, does it really accomplish this?

The band go into this latest album with a five-man line-up consisting of original members Mik Mentor (vocals), Martin Mendelssohn (guitars/keyboards), and Christian Nørgaard (bass), who are joined by Danny Woe (drums) and Jeppe Campradt Rasmussen (guitars/keyboards). The album has a total runtime of 46 minutes, featuring 10 tracks (including several interludes). It begins with one of the darkest and most epic songs you're likely to have heard by the band yet: "Nothing Grows From Hallowed Ground". This begins in not-so-unusual, heavy, mid-tempo doom fashion that quickly gathers momentum before making a sudden U-turn into traditional heavy metal territory. Not only does this seem to be a great all-round opening track, but it also acts as a general taster for what's to come, as, structurally, there isn't a great deal of diversity separating one track from next from here on.

The style generally follows that of the opening track, with the riffs mainly alternating between low-toned, mid-tempo epic doom and traditional, heavy, melodic outbursts. There are also some occasional but exceedingly well-crafted and performed solos, which I believe could sometimes have lasted a minute or two longer. Background synths are also added occasionally, and to great effect too, as they add a melancholic touch to top off the album's sorrowful theme. The one element that simply can't go ignored, though, is the vocals, passionately and emotionally performed by Mik Mentor in a borderline operatic, sometimes even Church-like, style (especially when accompanied by chanting backing vocals). His vocal style is certainly an acquired taste for many as they clearly aren't in the vein of Ozzy's haunting wails, or Dio's powerful, god-like range, but he definitely adds his own character and charm to the equation. This reminds me of another Danish vocalist who's vocal style is particularly distinctive, although not in the same calibre when it comes down to sheer quality: King Diamond, of course.

Aside from the atmospheric, synth-based interlude "Ghosts In The Trenches", a short, soft ballad (featuring a flute) titled "Damnation", and a melancholic, acoustic-based outro (containing a whispering female narration) titled "Wind Among Waves", the album continues in steady but fine form. Then you're hit by what, for me, is the stand-out track: "In The Cesspit Of Divine Decay". This is one of the most lengthy songs featured on the album and is inspired by all of what's featured on the album beforehand. These elements are crafted together exceptionally and then drawn out for a grand finale.

Overall, Altar Of Oblivion set out to cover the horrors of The Great War, and, in many ways, succeeded in doing so. This album contains some of the band's best riffs, most memorably emotive choruses, and most epic moments in general yet. Still, I believe the album just falls short of being instant classic traditional/epic doom material. But, it certainly is a worthy album that can be added to a discography that's growing in quality.