ALBUM REVIEW: Trinity – The Gloom In The Corner

There’s nothing better than a good piece of fiction. That goes for every medium. An escape from the dreary world we call reality. We can lose ourselves in tales of adventure, glory, mystery and the odd bit of romance. A sign of good storytelling is not being able to divert your attention from it. How does that translate when this concept is made an entire premise? THE GLOOM IN THE CORNER seek to continue their dive into a world less savoury with new album Trinity. Is it imperative to have listened to 2016’s Fear Me and the 2017 EP Homecoming before diving into this? Not necessarily. For the sake of mental continuity it would be simpler, but Trinity can be enjoyed as a standalone instalment. The metalcore bards drop us into The Rabbit Hole Dimension to follow three formerly deceased characters; Rachel Barker, Ethan Hardy, and Clara Carne as they battle through said alternate dimension to escape. While the parts could be played by the band themselves, and some of them are, THE GLOOM IN THE CORNER enlist a myriad of guest musicians to take up the mantle.

The heavy ticking of a clock sets imaginations off in opener From Heaven To Hell. We’re certainly not in Kansas anymore as the track winds into a mentality of having “no mercy to spare”. In a surprising move, we’re greeted with clean vocals and a subtle guitar swell as the verse picks up the pace. Our skills of perception come to life as trickles of piano melodies and string accoutrements wind through the piece. Then it comes. The transition from these gentler yet ominous classical instrumentals to crushing riffs and growls is sublime. From Heaven To Hell sets the tone for an altogether different bedtime story in spectacular fashion. For the sake of spoilers, we won’t be diving too far into the story arc from here on out.

Obliteration Imminent picks up the sonic heaviness with juicy riffs and a wall of lyrics thrown at us. If it’s lyrical understanding a listener is after, save that for the next listen as there is a plethora of things to be picked up on. Strings haunt the mix, coming through at just the right moments to add that sweet element of depth – THE GLOOM IN THE CORNER perhaps learning from past shortfalls. It’s clear a lot of time and love has gone into this album simply from the construct. Chronicling a display of homicidal rage, Ronin melds searing stringed accents to crippling riffs. With Ryo Kinoshita (CRYSTAL LAKE) at the helm, the level of aggression on the track is astounding. Electronics sift to the forefront as Kinoshita’s vocals level everything in their path.

It’s this bulldozing effect which keeps us hooked. What some may perceive to be a wall of noise, others will see as a treasure trove of sonic devices. Featuring Monica Strut (THE LAST MARTYR), Black Rot lends itself to this breeze block of sound before diverting to a melodically driven clean chorus. Perhaps the other side of Ronin’s coin, Black Rot is emotionally charged in a different sense. The rage subsides for a sadness or unjust feeling. “I sleep in the grave I made” ringing true of that cause and effect. So as New Order filters in with its slower etherealness, it sits well rather than sticks out. Though as with any saccharine respite, this doesn’t last long; the descent into vitriol takes the breath away. This fall into Hell is somewhat measured however as a slow interlude permeates through the midsection, rolling drums swapped for a clap of the hands. So much so that the snarl of “the Order has come to put you down” followed by a hefty breakdown hits much harder than a freight train.

As with any story, Trinity hits a lull around the half-way mark. Clutch simply floats. While it hits all the right notes in terms of what modern metalcore has become, that’s all it does. A glitchy instrumental beneath a tirade of screaming has Clutch burning out. Amelia Duffield’s guest vocals eventually drown within the torrent. It is mainly the cleans which falter in Trinity as Pandora’s Box demonstrates. A slower burn than those before, we’re handed a slab of rumination. “Drowning in my own trepidation” could have been ripped from any one of our own thoughts. As the song shifts into focus and becomes another heavy hitter, the cleans prove themselves too slow for the occasion. It’s a nit-pick in the grand scheme of things. When compared to the spiral element mirroring a mind circling the drain in the chorus, an out of sync component makes no difference. Though the conversation about the devastation of mental health we glean from Pandora’s Box pricks our attention as “I’ll reclaim my life but I’ll never feel alive” mentally hollows us.

There is an argument Trinity could have ended there – a note of despair in a world which has been constructed with it. Seeing there are six more tracks yet to come looks like a test of endurance on paper. Picking the pace back up, Behemoth offers a meaty intermission between protagonist and antagonist. While it has gargantuan breakdowns and a tasty lore drop, Behemoth is unnecessarily bloated. It’s meant to serve as a section of world building for Gravity’s epic battle, but Gravity does that by itself. Strings nestling within nasty riffs, the sonic impact of bodies colliding. Each component melting into each other as the spoils, and ruination, of war lay before us. Red Cloud has THE GLOOM IN THE CORNER’s characters counting their dead. What could have been a gut-wrenching moment of melancholia from Crystal Joilena, Elijah Witt (CANE HILL) and Rachel Jeffreson is overwhelmed by a piano which is too loud for the occasion.

Moving swiftly toward the close of the record, Nor Hell A Fury is visceral in its depiction of vengeance. While the overarching story jars as a result, this isn’t an issue after repeat listens. Nor Hell A Fury comes with white hot screeching guitars and a frantic breakdown. Does it add anything to the album? Not massively but if it’s a lore drop a listener wants, we’re not sure there’s one there either. What may have served THE GLOOM IN THE CORNER better is moving to Gatekeeper and Hail To The King straight away. The duo are made to be listened to together, totalling at 12 minutes. Gatekeeper’s cleans over a bed of undulating riffs is THE GLOOM IN THE CORNER in their pocket. The tight structure allows the story to wind up into its final chapter.

The key to good fiction is to keep the audience engaged. Have THE GLOOM IN THE CORNER achieved that? Bar a moment of bloating here and there, including a lengthy soliloquy from Joe Badolato (FIT FOR AN AUTOPSY), we’re inclined to say yes. Trinity is thoroughly enjoyable from beginning to end. As with many things in life, third time’s a charm as Trinity hits each point the band wanted to hit. They’ve sated their desire to construct a solid story as well as creating a fantastic album we’ll certainly be revisiting. We’re uncertain we’ve picked up absolutely everything but that’s the joy in it. Trinity is THE GLOOM IN THE CORNER at their finest and most depraved.

Rating: 8/10

Trinity is available now via SharpTone Records

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