OFFICIUM TRISTE is a melodic death/doom from the Netherlands, who formed in 1994. Their latest album “Hortus Venenum,” is their seventh full-length release. They have also released two demos, two EPs, five splits, a compilation and a live album. The band has been around a long time so I doubt I need to introduce them but just in case you live under a bridge or new to doom (or perhaps both), OFFICIUM TRISTE play a brand of doom metal that is highly melodic, atmospheric and Gothic but, of course, still heavy. “Hortus Venenum,” keeps with that tradition, offering a six song, 41 one minute long journey that is lush, detailed, and layered. I have always found the band’s song writing to be high-class; not pretentious but, instead, regal and stately. There is just a certain air of sophistication in their songwriting they inject into “Hortus Venenum” that is hard to explain but after one listen, you’ll hear it too.

Their brand of doom is on full display here, an incredibly detailed album that will reveal more and more of itself with repeated listens—every time I listened to this, I discovered something new. A little nuance here and there, or a note stuck in its many nooks and crannies that I didn’t hear the first time. It is very much an album of discovery, and each journey is just as enriching as the last. The production and smooth flow of the album both go a long way in helping the album achieve its replayability. Simply put, it sounds like a dream. Each instrument is represented perfectly within the mix–all get equal measure and each instrument (and vocals) can be heard without having to strain the ears. Choosing to follow any one member of the band is easy and will result in quite the journey.

As far as flow goes, the album glides by effortlessly. While obviously heavy, the album isn’t aggressive so even at its most melodic, nothing sounds out of place. That means that even at its most intense moments, the songs still retain their depressive beauty. The band has always displayed a knack for expertly crafting their songs; more than ever, “Hortus Venenum” is such an album where nothing is out of place—each note, each vocal line, each hammering of the drum, is located exactly where needed. The beginning of the album’s first song, “Behind Closed Doors,” opens with an imaginative keyboard riff and growling vocals. It’s a two pronged attack that immediately displays the beauty and darkness that exists within this album. Notice how sweltering the riffs are, how heavy the growls are (Pim is one of the best in the business), how commanding the drums/bass are, yet there is still the touch of atmospheric textures.

The album doesn’t only consist of more liminal spaces and slow moving textures, however. “My Poison Garden,” begins a little more up tempo, with chunky guitar riffs and deep bass slamming against the backdrop of melodic leads and stalwart drums. It’s a very immediate effective and transitions perfectly to a Gothic passage that embraces harmonies while the death growls push the song ever forward. I love how amazingly well the drums complement these parts! The later half of the song reveals another trick the band is so adept at: pulling back on the song jus to rise it back up again for a final act, this time indicated by a flurry of drums and and a frigehing vocal performance.

The middle part of the album is possibly my favorite song, “Anna’s Woe.” This particular tune represents everything I love about doom metal, why it’s my favorite type of music. The pretty yet tragic clean keys touch upon the dense guitars like a light dew hitting the ground on an early morning. I’ve always been blown away by light and dark elements meeting—this one of the reasons this album, and the band in general, appeals to me. The growls mixing with the music as it switches tone is nothing short of amazing. Anyone who says growling can’t be emotive and moving clearly haven’t heard this band and NEED to hear this album. “Hortus Venenum,” further impresses with its ability to world-build using atmospheric/ambient textures, such as in the beginning of “Walk In Shadows.” It isn’t as potent as metal in a traditional sense but it’s just as important as what follows. As the song builds up from this texture, the bass keeps the sound grounded, a full and robust soundscape.

The guitar leads and growls work in tandem to fill in all the little details, brought together by the drums which give the song a strong foundation even in its lighter moments, such as the keys/spoken word part about a quarter of the way in. Even in moments like this, the album speaks volumes. The album remains engaging as the final two songs draw nearer. “Forcefield,” is a bit more aggressive than the other songs, especially in the drumming. The bass and lead guitar kicks it up a notch around the two minute mark, for a riff based passage that lends heavy into their death metal side. This up-tempo approach in this song is very well placed, offering a more immediate effect just before the final song.

And that song is “Angel With Broken Wings,” a ten minute epic that takes everything great about the album and raises it tenfold. The tragic serenity of the opening is majestic and not unlike something that might be played at a funeral. Once again, the band’s ability to transition is second to none as the song slides into the realm of doom. It’s low, slow, melancholic and a perfect representation of the band’s sound and album as a whole.

OFFICIUM TRISTE’s “Hortus Venenum” is an engaging example of the doom genre’s capacity for highly emotional charged music. It’s as beautiful as it is tragic, as sweltering as it is radiant. Most importantly, it is an album with a lot of care of and detail put into it from a band who shows a clear love for their craft.