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REVIEW: The Gloom In The Corner Unleash Unholy Fury on ‘Trinity’ 7.5

REVIEW: The Gloom In The Corner Unleash Unholy Fury on ‘Trinity’


The Gloom In The Corner is an intriguing band, to say the least. The Australian metalcore act steeps their music in cinematic concepts, with each of their releases telling a cohesive and connected story drenched in lore. The band dubs themselves as a “Cinemacore” band, a label that serves as a fitting description of what their music sounds like. Combining metalcore standards with their added taste for theatrics, ‘Trinity‘ is no exception. The new album continues the story where their most recent EPs left off with orchestral instrumentation and a dramatic flair. 

In many ways, the cinematic approach the band takes elevates their music and makes it a lot more enjoyable, and the creativity on display is admirable. TGITC take their craft very seriously, and their dedication to the fantastical story they are telling is honorable. Frontman Mikey Arthur displays an impressive vocal range throughout every track, employing different styles and techniques to represent individual characters in the aptly named ‘Gloom Cinematic Universe’ lore. Furthermore to the point, the album contains a whos-who of metalcore vocalists, with nine of the thirteen tracks on the album containing guest features from notable A-listers, who all voice various characters themselves.

The album is incredibly unpredictable, weaving through twists and turns in sound much like your favorite movie or Tolkien novel would in its plot. One moment, you’re listening to an operatic piano ballad, the next you’re getting smacked around by visceral screams and djenty guitars. See the 8-minute closer “Hail to the King” for example, which opens with a Frank Sinatra-inspired jazz progression before Joe Bad of Fit For An Autopsy appears out of nowhere with a freight train of deathcore growls and intense instrumentation. This makes for a thoroughly engaging, and at times shocking listen, much to the album’s advantage.

Despite the more theatrical cuts such as “Red Clouds” providing much-needed breathers and sonic diversity on the lengthy album, ‘Trinity’s best moments are when the band unleashes hell with unrelenting brutality and seething rage. “Nor Hell A Fury” dives straight into the unholy circles of hell itself, being the most intense and fun song on the project with ruthless aggression and devastating riffs. The track, alongside Ryan Kirby’s (Fit For A King) contribution to the mathcoreish breakdown of “Gatekeeper” gives the latter half of the album a shot in the arm, keeping the listener on their toes and defying any preconceived expectations set by earlier cuts on the record. 

Speaking of earlier cuts, the first 8 tracks (or “chapters”) of ‘Trinity’ go by at lightning speed, largely thanks to the album’s perfect tracklist flow and fast-paced riffage. Coincidentally, they also feel like one long song, aided by the ominous appearance of ‘The Narrator’ bridging the gap between “Obliteration Imminent”, “Ronin”, and “Black Rot”. The former and latter of the three have impressive features from Monique Pym (Reliqa) and Monica Strut (The Last Martyr), whose vocals intertwine beautifully with Arthur’s and can also be heard at different points throughout the rest of the record. 

Overall, ‘Trinity’ is a solid record from one of the scene’s most exciting new acts that lives up to its own pretentious ambition and is a journey to behold for those who dare tread its path. For all of its theatrics and shock value, I enjoyed the album the more I delved into it, with each listen uncovering another layer amidst its dense production and instrumentation that I missed previously. From the deranged ferocity of “Clutch” to the soaring melodic choruses of “Pandora’s Box”, there’s a lot to take in and appreciate on this adventurous album, even for new listeners not caught up on the band’s lore.

The Gloom On The Corner‘s second full-length album ‘Trinity‘ is available now on all streaming services via Sharptone Records. Watch the official music video for “Pandora’s Box” below:




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Mateo Ottie I make loud guitar noises and have unpopular opinions. If it’s underground alternative or progressive metal, I probably like it.