The Gloom in the Corner – Trinity
Release Date: 28th October 2022
Label: Sharptone Records
Pre-Order/Pre-Save
Genre: Metalcore, Symphonic Metalcore.
FFO: Make Them Suffer, VCTMS, Tallah.
Review By: Trina Julian Edwards
Australian “theater-core” favorites, The Gloom In The Corner, remind listeners they’re more than just a concept band in their second full-length album, Trinity. Featuring frontman Mikey Arthur, guitarist Matt Stevens, bassist Paul Musolino, and drummer Nic Haberle, The Gloom in the Corner have been creating meticulously detailed concept releases since their earliest days. The thirteen tracks of Trinity are purposefully intended to align with unlucky number thirteen, which is a reoccurring symbol in the continuously unfolding Gloom Cinematic Universe or GCU. Longtime fans will not be surprised that each of the tracks are woven together to form the latest tale, this time centered around the aptly named “unholy trinity.”
Previously deceased characters Rachel Barker, Ethan Hardy, and Clara Carne fight their way back to Earth from the Rabbit Hole dimension, laying waste to all in their path. Listeners witness Rachel, Ethan, and Clara progress over the course of the album, with the lyrics providing insight into their malevolent evolution. Although listeners do not need to be conversant with previous installments to enjoy Trinity, those just joining the GCU may wish to begin their musical journey with 2016’s debut album Fear Me, the 2017 EP Homecoming, the 2019 EP Flesh and Bones, and 2020s Ultima Pluvia EP.
Now let’s cue the dramatic opening to Trinity in the first track, From Heaven to Hell. “Let me paint you a picture…” Arthur begins, inviting listeners to join the band on this series of adventures. The symphonic elements are very evident in this intro track, initially pared down to primarily piano, strings, percussion, and Arthur’s lovely layered cleans. My ears perked up when the instruments began to mirror the vocal lines in this track, beginning at the phrase, “Can’t you see that I’m terrified?” and continuing until the metal elements drop in around 1:12. We get a few harsh vocals, then a substantial tempo change that really sells the idea of the “rabbit hole…” The track closes with an appropriately demonic-sounding narrator introducing the first character in the trinity, the Girl of Glass. Obliteration Imminent features Monique Pym of Reliqa as Rachel, the Girl of Glass, whose first appearance was in 2016’s Fear Me. The track begins with Pym repeating the line, “I’m not afraid to die, I’m just afraid to live…” Arthur’s harsh vocals echo these words, then the pre-chorus and chorus change up to gorgeously rendered cleans before the breakdown elements and chugging guitar steal the spotlight. Pym returns at 2:22, and something about her range and intonation puts me in mind of Liz Phair, so I’m all for it. I also appreciate the lyrical theme of battling depression, which will resonate with many listeners.
The story continues with Ronin, brought to life by Ryo Kinoshita of Crystal Lake. The 2017 EP Homecoming begins the tale of Ethan, a war veteran suffering from PTSD. In this track, we see Ethan become the formidable Ronin, with an acute awareness of his own failings. The mysterious narrator opens the track, and the intensity rises immediately with the addition of vocals, synth, and percussion. The exciting dynamics and well-placed tempo changes in the arrangement emphasize the different aspects of the storyline. The breakdown-like section toward the end of the track is notable, with the symphonic elements emulating the guitars and the drums. I always enjoy Kinoshita’s expressive vocals and this is no exception. The track ends with the narrator introducing the next character, The Queen of Misanthropy. Black Rot begins a little djenty with symphonic elements, percussion, and a bit of synth. This track features Monica Strut of The Last Martyr portraying Clara, who has become a violent warrior demanding, “get on your knees for the Queen of Misanthropy.” The vocal duet between Strut and Arthur on the chorus is particularly satisfying, and Arthur really shows off his range in this track, going from smooth, ethereal cleans, to pterodactyl screeches, to savage growls in the space of a few measures.
New Order is the undisputed highlight of the album for me. Taylor Barber of Left to Suffer kills it in one is my favorite features to date. The back and forth on the clean vocal sections gets the narrative across beautifully, and that chorus hits like a ton of bricks. Coming on top of those cleans, it is shocking in its brutality. The vengeful screaming of “what goes around, comes around,” the perfect distortion on the guitars, the intensity of the strings…Epic is not too strong a word. I also love the lyrics in this track, especially the line, “If we’re going to hell, I’ll see you on the way down…” And that final drop is just nasty. Clutch takes off accordingly with the roar of an engine and a screech of tires. Arthur howls through the verses over the jackhammer that is the guitars and drums. At the chorus, Arthur switches to layered cleans, and his sister, Amelia Duffield, ably assists on vocals. The symphonic elements add a nice touch of urgency to the arrangement, driving us through the breakdown to the distorted voice of our narrator at the end of the track. A lone guitar accompanying muffled cleans leads us into Pandora’s Box, featuring Lauren Babic of Red Handed Denial. Arthur’s voice gradually becomes more clear, and the other instruments and symphonic elements make their presence known. The tempo slows and the instruments drop back at Babic’s entrance, then the sound and the fury return on the climactic duet between Arthur (using harsh vocals) and Babic. Once again, the dynamics are excellent, serving to draw the ear to dramatic elements in the narrative.
The evil voice returns again at the beginning of Behemoth, which has a sort of nu metal vibe due to Arthur’s staccato, rapped response to the narrator, the riff-heavy guitar work, and the nicely integrated electronic undertones. Gravity bursts into existence with hammering drums and prominent strings, while Arthur’s harsh vocals add some extra grit to the initial ferocity. Then all of a sudden, there’s silence but for Arthur’s voice and the gradually rising tide of the instruments. The harmonizing vocals are practically ethereal and there’s a properly grunge-y section complete with some fabulous little guitar licks that elevate the entire piece. Red Clouds is a slower track, with a greater focus on the narrative. Vocalists Crystal Joilena, Elijah Witt of Cane Hill, and Rachel Jeffreson take the storytelling in turn, primarily accompanied by strings, piano, percussion, some synth elements, and sporadic guitar. The vocalists do an exemplary job advancing one’s understanding of the overarching story, and there’s an amazing solo that’s not to be missed in this track.
Nor Hell A Fury sees Rachel morph from meek and mild to the rage-filled Dark Angel, as she furiously proclaims, “he should have told you to run from me…I’m done playing the angel.” This is the heaviest track on the album, with some definite deathcore leanings on those hellaciously harsh vocals and seriously monstrous breakdowns. No pretty cleans for this beast and no lightening up. It’s heavy from the start, and just keeps adding ballast. This is another track I’ve had on repeat. Gatekeeper is possibly the most dramatic track of the album. The theme of falling out of love informs the fascinating dialogue between characters, and Ryan Kirby of Fit For A King provides his excellent take on the narrative. This track has a plethora of chugging, some rhythmic trickery on the drums, and suspenseful tempo drops. The staccato sections are particularly evocative, with the vocals and all of the instrumental elements mirroring one another. The alarm blaring in the rain flows right from Gatekeeper to Hail To The King, which develops into a 90s Britpop ballad (but with 80s era gospel-tinged back-up singers) until all of a sudden it isn’t. The switch is disconcerting, but it’s no doubt meant to be. Now we’re going full-on symphonic deathcore, complete with iconic vocals from Fit For An Autopsy’s Joe Badolato, who carries out his role admirably. Arthur adds to the ferocity with his own harsh vocals, and the back and forth between these thematic motifs and characters is riveting. The dénouement is an apocalypse in both sound and story, going from theatrical strings and booming percussion to concussive explosions, terrified screams, and demonic growls. Definitely a cliffhanger ending.
Overall, I am impressed with their world-building skills, especially since this feat has been accomplished through music. I particularly like the way they utilize vocal features and voice actors to bring the different characters to life. This made it much easier to follow the story, similar to what one would expect in a graphic audiobook. Although the focus was on The Gloom in the Corner’s particular supernatural world, the themes of Trinity touched on subjects those of us in this world can also relate to. Not only is the story interesting, but the sound is also noteworthy. The dynamics are excellent and help tell a story regardless of whether you’re a new fan or a long-time listener. The arrangements seamlessly integrate all the various elements, and each of the musicians clearly knows how to get the most out of his or her instrument. Arthur’s compelling vocal range can’t be denied, and his ability to shift from the most angelic cleans to the gnarliest screams added to the drama of each track. Thirteen tracks is a bit longer than I usually gravitate toward, especially when trying to follow an interconnected narrative. I also struggled just a bit when it seemed like a different actor portrayed a character later in the album, but the lyrics helped me get myself sorted out.
I’m not as familiar with their back catalog as others may be, so there are musical Easter eggs I have no doubt missed and connections to the lore I haven’t made. There are, however, several intriguing twists and new developments in the continuing story arc, but I’ll leave listeners to discover those for themselves. If you’re a fan of “theater-core” or symphonic metal with a heightened sense of the dramatic, Trinity is exactly what you’re looking for.
(4.5 / 5)
