ALTAR OF OBLIVION is an epic heavy/doom metal band from Denmark, who formed in 2003 as SUMMONING SICKNESS before changing to their current moniker in 2006. “In the Cesspit of Divine Decay,” is their fourth full-length album. They have also released three demos, five EPs, and a live album. This is my first time hearing their music but I am impressed with the quality that assaults my ears across the album’s 10 track, 46 minute runtime. The most impressive element has to be Mik Mentor’s vocals. I don’t know if this is true or not but according to their Metallum page, he used to be an opera singer. I believe it—this dude’s vocals are MASSIVE. It’s clean and soaring but very expressive and actorly at the same time. He is a beast, pure and simple.

Of course it helps that the rest of the band are apparently masters of their craft as well. Martin and Jeppe’s riffs have a grandiose tone and these guys can play everything. Nørgaard’s bass and Danny Woe’s (also the main guy behind FUNERAL CHASM) drums are a two man army that just don’t quit. Their music rides the line between traditional metal and doom although they seem to favor doom more which is perfectly fine (and preferred) with me. With that being said, there are more than enough variations in temp to keep the non-doomers happy so I can see this appealing to a wider audience than most doom bands. Oh and the songs are catchy as hell. That isn’t what you want with your metal/doom? Tought because these guys prove you can be metal as fuck and still craft a song that will be stuck in your head for days. A lot of this album actually reminds me of THE SWORD before that band decided that sucking would be the best direction to take.

The album opens with “Nothing Grows From Hallowed Ground,” and it immediately grabs me with its gripping riffs. The lead guitar builds up the urgency as the entire band fires on all cylinders. The vocal delivery is powerful and catchy too, something doom isn’t always known for. The mid portion is a clean passage that breaks up the two halves of the song but it’s presented in an organic way, with the transition in and out of the segment smooth. “Mark Of The Dead,” opens with clean tones and quiet but emotive vocals. The band’s subject matter seems to be centered on war. Much like the other songs, there is a layer of horror in the atmosphere of this song. It’s raw, honest, and very human. The later half of the song is somber and tragic, the lead guitar creating quite the tapestry.

“The Night They Came,” opens with chanting before turning into a wail that kicks the song off with sweltering riffs and a counter harmony. The song marches ever forward at a steady clip before slowing down during the halfway mark. The band is adept at using tempo to change the mood here but that’s also indicative of the album as a whole. The band’s traditional metal influence creates a sonic rush in “Silent Pain.” This song is towering and encompassing. The riffs rip through when needed but take a slight break to let the vocals breathe just when needed. This is one of the more catchy songs on the album and even has a bit of a power metal feel to it. The title track is the last full song before the outro. It’s slow galloping sets up riffs that crash like waves against rocks. The melodies around the two minute mark are fantastic, as are the powerful vocals that precede them. The middle segment is highlighted by the bass before the song returns to its crushing nature.

All in all, ALTAR OF OBLIVION’s “In The Cesspit of Divine Decay” is an album that is as catchy as it is gripping. The band’s ability to combine doom and more traditional metal elements is impressive and engaging. A power release that is highly recommended.