Officium Triste - melodic death doom from Holland

Officium Triste

Hortus Venenum

Transcending Obscurity Records

6 September 2024

Officium Triste (1994-present) has a justifiably proud discography in the field of melodic death doom. Really, you can't go wrong with the 1997 debut Ne Vivam or 2004's Reason or 2019's The Death of Gaia, all of which represent as outstanding examples of graceful interpretations of melodic death doom as you are likely to find anywhere. Actually, any of the six previous full-lengths are good examples of the type of melancholic songwriting for which the Dutchmen are standard-bearers. I also like the various EPs and singles that they have done over the years. With such a good discography, it is fair to say that the new album has to meet a certain level of expectations. Well, I am glad to report that Hortus Venenum (six songs in 41 minutes) is already one of my favorite albums from the band. As is generally the case with this band, the music is melodic death doom that is midtempo (not super duper slow) with some passages moving in a slower direction and some other segments picking up the pace here and there. While it is a given that heaviness is abundant, what is more interesting is their skillful use of melody, of extended, melancholic guitar melodies (not too radically different from the slow, bluesy melodies that characterize Pink Floyd’s songwriting in classic rock) that make it seem like the guitar is singing and the melodies stay in the listener's memory. This idea of making guitar melodies that the listener remembers unfolds rather well with repeated listens, given the playability of the album. The growling is a low, graceful, friendly monstrous voice. The rhythm section provides the heaviness, with the synths assisting with the melodies, which are fundamentally guitar-driven.

The band often bases lyrics on disappointment, disillusion and uncertainty. Per-haps the negativity of the lyrics may turn off some listeners who may not enjoy the constant pessimism, although the lyrics are not any more negative than Paradise Lost or Katatonia, for example. Personally, I think the lyrics are acceptable, though I think it would have been better to find a smarter word to rhyme with “forevermore” in the song “Anna’s Woe.” Thankfully, the lyrics are better than their album The Pathway (2001), which seemed way too angry. In addition, the artwork is good, and they have not repeated the awful artwork of their 2007 album Giving Yourself Away, which is way too clichéd, cheap and stereotypical for depressive doom. Interestingly about the new album, you may find yourself plenty happy with the uptempo moments of “Forcefield,” a song with some nice, upbeat moods. It’s not all downtempo doom!

Overall, the boys from Rotterdam have outdone themselves once again. There is very little to complain about and lots to celebrate. As they get older, the boys seem to take about five years to put out a new album. So, it’s going to be a while before we hear from them again; all the more reason to dive into the new album and see what it has to offer to fans of doom. Then, come back to it later. You are bound to find that the album gets better when you return to it for subsequent listens.

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