The Gloom In The Corner “Royal Discordance” Album Review
Melbourne’s The Gloom In The Corner have always been a bit of an enigma in the Australian heavy scene, describing their own style as “storytelling done the wrong way.”. It is a perfectly accurate summary of their unpredictable brand of metalcore, which exists as a constant tug-of-war between absolute tonal chaos and cinematic, orchestral beauty. At the centre of it all is Mikey Arthur, a vocalist who can switch from a deranged scream to a massive, soaring chorus without breaking a sweat, giving the band a unique, theatrical charisma. Honestly, Trinity was an album I held closer than pretty much anything else, to the point where I actually ended up getting the Unholy Trinity tattooed on me. So, the second I had the chance to get my hands on this new record, there was no way I was passing it up.
The opening track, The Problem With Apocalyptic Tyranny, picks up exactly where the last era left off by using the same EAS alarm that appeared in Hail to the King. It is a heavy, atmospheric signal that Australia is officially under the thumb of King Baphicho’s tyrannical rule, hitting with a physical weight that sets the stage for the rest of the album. You Didn't Like Me Then (You Won't Like Me Now) then shifts gears into a high-energy 2000s alt-rock vibe, acting as a bold anthem for the resistance with a "don't care" attitude and a cheeky solo that hits perfectly during the crescendo. The energy stays high for Painkiller Soliloquy, where the drumming drives the intensity into a bone shattering breakdown, proving they can still bring the absolute heat even when leaning into catchy melodies.
The violence peaks with Short Range Teleportation, a relentless string of breakdowns that eventually fades into a blissful, ethereal piano breather where Mikey’s vocals take over. But the peace is short-lived as the rack of a round leads into Nope (Hollow Point Elysium), a track of pure adrenaline and unhinged confidence that asks if he is God or Death, only to answer with a blunt "Nope, just a son of a bitch." Angel’s Wrath Whiskey is another massive standout because it finally gives Rachel her moment to feel powerful, using rapid drums and frantic strings to create a theatrical energy that reminds you why the lore is just as vital as the riffs.
Clocking in at over six minutes, Shadow Rhapsody II is a beautiful, slower track that lets the melancholy soak in, acting as a massive, cinematic turning point for the story. This leads into Assassination Run, a massive "fuck you" track that carries a level of aggression very reminiscent of Ronin (which was one of my favourites off Trinity) so this one hits exactly the way I like it. That’s Life (Carry My Home) follows with a groovier sound and unique ad-libs that we haven't really heard from them before, and while it isn't my favourite, it is still a fun break in the intensity. On the other hand, Army of Darkness is an easy favourite, blending every side of the band into one track with a beat that just tickles the brain and a breakdown that was completely uncalled for in the best way possible.
The two-part epic at the end of the album really proves that Gloom is just in a different world right now. Love I: A Quaver Through the Pale strips everything back to piano and strings before building into a massive, soaring climax that shows how well they handle the dramatic side of their sound. That energy carries right into Love II: A Walk Amongst the Poppy Fields, which starts in a reflective headspace and builds into something bold and aggressive that sounds completely different from anything else on the record. It is a huge, cinematic way to end things, giving the whole journey a sense of completeness and a proper, dramatic send-off.
Overall, this record is a massive step forward for The Gloom In The Corner. It manages to keep that chaotic, lore-heavy soul that made me fall in love with them in the first place, but the production and the songwriting feel sharper and more intentional than ever. They’ve proven they are one of the most creative forces in the scene right now, and I cannot wait to hear these tracks live.