We venture down The Rabbit Hole with The Gloom In The Corner, as they take us through their damned solid ‘Homecoming’ EP, as well as the interweaving lyrical narrative and diverse cast of characters that exist within their music’s lore.
i) “Welcome To The Rabbit Hole”:
Conceptual releases aren’t anything new for heavy music.
Contemporary hardcore legends Defeater have produced four records detailing the stories and events of a broken, dysfunctional family torn apart by WWII and the impact that war had on this tortured family and the various characters that surrounded them. My Chemical Romance delivered a doomed, bittersweet Bonnie and Clyde-like tale on ‘Bullets…‘, a similar tale of bittersweet love and loss with ‘Three Cheers For Sweet Revenge‘, a theatrical presentation of an individual’s life and death with 2006’s ‘The Black Parade‘, and even bright and colourful comic book universe for 2010’s ‘Danger Days‘. (We don’t talk about ‘Conventional Weapons‘). Then there’s GWAR and their gory intergalactic tales of space piracy, the poetic loves tales of Alesana – who even wrote a goddamn book on their mammoth story – and of course, there’s Periphery with their dual ‘Juggernaut‘ release back in 2014. Which, if we’re being fully honest, was a rather poor attempt at a concept album.
Also treading the conceptual music path is Melbourne mosh-crew The Gloom In The Corner, who I’d best describe musically as Emmure and Darke Complex being smashed together with Sylar and Sworn In. As for why they’ve chosen this route, their vocalist, Mikey Arthur, simply puts it that, “My goal has always been to create something more than just the music”.
Their nu-metal-metalcore sound acts as the vehicle to tell the story of an equally secret and shady government-sanctioned organisation called Section 13. Within this fictional agency exists a group called Echo Squad, and it’s this cast of characters that made up the narrative of The Gloom In The Corner’s 2016 debut LP, ‘Fear Me‘. The band’s 10-track debut all followed Agent #712151513 AKA Julian “Jay” Hardy (occasionally referred to as “The Reaper“), with the exception of one song on that album’s back half, ‘Body Of Glass‘. Following the kidnapping and eventual death of Jay’s girlfriend, Rachel Barker (commonly titled as “The Angel“) at the bequest of Section 13 Director Emily Scarlett and Section 13 creator Stuart Thatcher (AKA Mr. Loc), Jay enacts a violent revenge against Rachel’s killer(s) and other associates of his now former employer; all leading to a dark entity called the “Gloom” taking him over, with the album wrapping up with Jay’s incarceration.
And that’s just my quick summed up version of it all.
Surprisingly enough, listeners do receive a decent chunk of this Section 13 story up front with this debut record’s actual music and lyrics. Which is a real achievement considering just how many elements and lore there is to unpack here, most of which I’ll try to get through here.
These stories and characters first sprung from Mikey Arthur’s mind when he was but a teenager. Instead of disposing of this narrative as he grew older and never returning to it, he’s come back to it and taken it beyond mere childhood stories and made it tangible within The Gloom In The Corner’s music and art.
“I think that I’ve always been somewhat of a storyteller”, he says to me from across a table at Melbourne’s Lounge Bar. “The one band that I’ve seen had a continuous running story in their music has been Defeater, who was my real inspiration for using our music in this way.”
“I take a lot of influence from my dad who is a real movie buff and who also wrote screenplays,” he divulges. “I love doing the conceptual stuff, and I’ve been inspired by bands who do conceptual records. In fact, a lot of inspiration for Jay as a character comes from My Chemical Romance’s ‘Danger Days’. After I stopped writing all of these original stories when I was in my early teens – which were all excessively long at around 100K words each – I got back into the writing when The Gloom In The Corner started up. I initially had this story idea to be used for my old band, Despised, but that band ended and it just fit so much better with Gloom’s music.”
Like most fictional worlds, there exists some kind of cosmic balance at play, and The Gloom In The Corner’s world is no different. For the real spiritual nature of this story comes with its three different dimensions; The Panel (the Pearly Gates where you’re fully and finally judged), The Garden (Heaven) and The Rabbit Hole (Hell), with Earth acting as the in-between realm.
“Like any supernaturalised story, there’s plenty of allegories to real world events and beliefs”, mentions Mikey. “I grew up in a Christian household and got told all of those beliefs and timelines of creation and I just thought “Nah, I’d rather make and tell my own version instead“. So, I warped all of that for these stories found in Gloom.”
This worldly structure means that when a character dies, sometimes they aren’t forever dead (and that’s even before the Archangels come into play). From a writer’s perspective that opens up many doors, and therein lies a potential problem; too many options for where the story could branch out to next. However, this doesn’t bother Mikey nor the band.
“Of course, some characters do fully die, as in that’s the end of them. Thatcher, for example, and the Echo Squad members that Jay killed in ‘Fear Me’ – they’re all gone. Does it overwhelm me with writing for Gloom? Yes and no.” He continues, “I’ve somewhat planned out our next album and where things will go, so no, I wouldn’t say that it gives me writer’s block or anything.”
Now, The Gloom In The Corner (TGITC or simply Gloom) aren’t hiding any of this nor are they being overly secretive of their story; thankfully not acting like superior gatekeepers of fiction that look down on others because they might not get. In fact, a website has been set up for this ever-expanding story, where further details on characters, events and world are added.
“The website is there to help fill in the gaps for anyone curious”, I’m told by the vocalist. “If I had it my way, there would be a lot more filler tracks to our releases, but of course, in doing that, ‘Fear Me’ would have had something ridiculous like 20 tracks. And 10 of those tracks would have been mere audio sample interlude tracks and that would just ruin the flow of the album. So the website is there to help fill it out. As no band, with maybe the exception of Alesana, has put their story all together like this and written it all out for people.”
A small community is also growing around this band’s fiction, with a Facebook group called Section XIII being setup. This public group allows the band to interact with mates and fans alike, joke around, share their music and ideas, and allow others to add to the Section 13 lore; whether in a literary sense or even in a musical one. Even if the group has just become one giant fuckin’ meme-fest over time. There’s also the Section 13 Soundcloud page, where the band occasionally upload B-side songs, adding more pieces and info to the story.
“That Soundcloud page is the cumulative effort of all these characters inputting their own sides of the story, but the main story is Gloom, and those side stories aren’t Gloom songs per say” informs the frontman. So, simply think of those Soundcloud B-sides, like ‘An Epilogue‘ or ‘c.o.f|f.i.n – Ubiystvo (Kill)‘, as filler episodes of this larger, longer-running show. All of this helps to form an expanding community around Gloom; a welcoming, inclusive club for anyone keen to invest their time and is willing to listen.
I personally find the best way to explain to people what Gloom is all about is that they’re simply the audible representation of the events and stories of Section 13, Echo Squad, and all of these characters tying into one another. Something they displayed well on ‘Fear Me‘, and while interesting from a concept standpoint, that record just didn’t back it up with the songs. Recently, Connor Welsh of New Transcendence put it best in his review of ‘Homecoming‘, saying that its predecessor “…wasn’t an inherently bad release as much as it was boring“. Which is how I also felt about the band’s debut – a decent album at best that was nothing to write home about. Yet on ‘Homecoming‘, Gloom have well and truly upped the ante by cutting out the filler and creating a shorter yet heavier, more vicious and far more solid listen overall. Of course, these five new brutal songs follow and add to the established narrative, though not quite as full-on as its predecessor did.
‘Homecoming‘ (originally titled ‘Returner’) details the story of Jay’s older brother – Ethan Hardy, who split from his brother prior to this story really beginning. It goes on to tell of Ethan’s return home from Afghanistan; the debilitating PTSD dealt upon him from the horrible events he experienced overseas; an event called the “Duststorm Incident“; how he fits in with certain characters from ‘Fear Me‘; and his mission to bring his brother Jay out from this undesirable Gloom state. By any means necessary. In this case, that means taking his own life and venturing to The Rabbit Hole to bring Rachel back to Earth to try and save Jay from the Gloom; hopefully gifting Ethan with his brother back. Man, the things we do for family, right?
As it turns out, ‘Homecoming‘ was a happy accident and the frontman tells me that “‘Homecoming’ was technically never meant to happen” and that Ethan as a protagonist was originally never meant to be included in the story. At least, not to this degree.
“Ethan was a character that was technically never meant to be included this much, as we were all focusing on the next album”, Mikey informs me. “But then a friends band came to us and asked if we wanted to do a split EP with them, and we said yes. Three months down the line, I had written two songs – ‘Brother’ and ‘War’ – and this other band came back to us and said that they weren’t interested in doing a split release anymore. And it was just as I had written Rodent to. So we thought “What the fuck are we gonna do with these new songs?” Then I wrote ‘Witch Hunt’ and as we liked these songs so much, we pushed them out and I tied them into the wider story with this EP. But as this other band would also be influencing the story of this split EP, I didn’t want to make the songs too concept heavy and I decided to make it more… realistic. Because with ‘Fear Me’, as much as people can relate to those lyrics, it is very concept heavy. Here, every song besides ‘Rodent’ and ‘Brother’ are far more realistically driven stories.”
That’s all for the better, I feel. As now, we have a culmination of real-world issues and topics layered neatly under this vivid and dark fictional story for a much stronger EP.
Drummer Nic Haberle – who has been adding bits and pieces to what his bandmate has told me of the story and band – adds here that ‘Homecoming‘ has actually put the band in a very good position for their next album. “Without this EP, the story would have jumped ahead and there wouldn’t have been as much room or explanation. Ethan wasn’t really going to be a character in it, and that then would have affected where the next album goes”, he says.
ii) “This is my Homecoming, motherfucker”:
Kicking off the 17-minute EP that is ‘Homecoming‘ is the short but sweet fuel for the moshing fires, ‘Rodent‘; easily one of the better tunes under Gloom’s collective belts and my personal favourite of theirs.
Originally titled “Death Dealer” but later changed because of a Graves song of the same name, this opening song’s moniker works as a duality of sorts. On one hand, it’s about Ethan’s own self-loathing and how he sees himself (“I am war, I am pestilence/But what I wish for is to not be this“) but on the other, “rodent” is also Ethan’s call sign for his fellow squad mates, AKA the “Death Dealers”.
“‘Rodent’ is an introduction to not only the EP but to Ethan as a character as well, and all of his self-loathing”, says Haberle. “I also called it ‘Rodent’ because that’s also the nickname that Ethan’s war buddies gave him while in the war”, adds Mikey. “Much like ‘Heaven’s Collapse’ on ‘Fear Me’, this acts as the intro piece to the full release and the central character.”
With ‘Fear Me‘, ‘Heaven’s Collapse‘ opened the album with a mixture of low-tuned metalcore and some rather ill-conceived rapping and electronics. Whereas here, it’s far more intense and straight to the point, as ‘Rodent‘ sets the pace extremely well. It’s also a mini-gold mine of phrases and terms from the band’s own fiction, with lines like “Welcome to the rabbit hole“, a reuse of “God abandon me“, and “Brother of Mine/Chase the reaper from your mind“.
The second song ‘Brother‘ is, as you may easily guess from the title, more specifically about Ethan’s return home and finding his brother Jay succumbing to this Gloom state while incarcerated at the Section 13 asylum. (Just for full Batman-esque points). It’s a track that’s all very 2009 metalcore – especially with many of the guitar’s rhythms – and it’s got a wicked gravity blast mid-way through; a certain part that Haberle fully learnt and nailed just to spite the vocalist for writing it, I’m told. (Good stuff, mate).
Gravity blasts aside, though, this track is really the first big moment in the EP’s chronology, if you will.
“Ethan comes back after Afganistan and visits Jay after being dishonourably discharged”, begins Mikey. “And this song is still us having leftover feelings from ‘Fear Me’, as it’s also a tie-up of Jay’s story for this EP. As the finale was left a bit open-ended for ‘Fear Me’ and this kinda provides closure for Jay. That’s why I really like this song and why I put “fear me” in the lyrics. This is the key point in the story where Ethan realises that he needs to do something to save Jay. Which means going to The Rabbit Hole to find Rachel, hence those last few lyrics of the song, “If she dies, he dies, I die, we die.”
The song’s rather edgy lyrics of “”You’re no brother of mine/Put the barrel between my fucking teeth and pull the fucking trigger“”, while delivered by Mikey, are meant to be spoken by Jay in his Gloom state. This different voicing of characters and narration in the lyrics is also done on the final track, ‘Witch Hunt‘. However, whereas that closing song sees a featured guest vocalist (who we’ll get to later on) creating that different voice for the song’s tone and impact, it’s simply the frontman’s own vocal delivery here on ‘Brother‘. That’s something that they want to ensure changes with future releases.
“That’s something I really want to do more of on the next album and I already have ideas on who we get for these new parts. The guy we had in mind for ‘Brother’ is a great lyricist and he would have done it so well. But it fell through due to the vocalist falling very ill. On future guest spots, I really do hope that that the other vocalists get into the story and write some sick lyrics for the songs.”
Well here’s hoping that more features follow next time around, but as it stands here, Gloom more than hold their own without a featuring vocalist.
In terms of the overall timeline, happening around and somewhat before the many events of ‘Fear Me‘, the story of ‘War‘ is occurring overseas. The story of this powerful, dynamic track is the utter clusterfuck referenced on the Section 13 website and in lore as the previously mentioned “Duststorm Incident”.
“How this all links together is that there is a leak from Section 13 and that’s how Rachel finds out that the guy in charge, Thatcher, is not who he says he is [which results in her kill order]. People from Section 13 leak information from their database and this is how a woman named Katya – the wife of a key character from ‘Fear Me’, Yuri Krazchenko – gets caught up in it all, as she’s the one who finds this leak, and that then leads to her eventual death”, explains Mikey.
“There’s a lot more backstory to ‘Homecoming’ that comes from before ‘Fear Me’. But what isn’t told in both ‘Fear Me’ and in ‘Homecoming’ is that before both Ethan and Coffin Crew are sent out to kill someone that’s supposedly leaking info about all of Section 13’s agents. When Katya and Ethan go to Afghanistan to find and deal with this person, Katya is killed by a hit squad sent by Thatcher, who is having them all killed off to tie up loose ends. And while this leaker is being dealt with, Ethan and his squad are standing guard outside in a desert town, and Ethan shoots a young boy approaching that he mistakes for a suicide bomber – which I took inspiration from that similar scene in American Sniper. This causes the townspeople to become distressed and revolt against the Marines, and in this mess, Katya is killed, Ethan is the last of his squad left, he calls for extraction and as he escapes to the helicopter, he’s shot by a member of the hit-squad that was sent to kill Katya. This situation all leads to his PTSD, which is then followed up by the next song, ‘Paramour’.”
Before we get to that song, though, even without Ethan’s story of a mission gone horribly awry, this song is at its core a harrowing tale; one of the many difficult decisions and the greater difficult actions taken by soldiers in combat and how those actions will haunt them for the rest of their lives. ‘War‘ is a song that’s filled with more realistic moments and inspiration than most other Gloom tracks, resulting in the band finding a happy medium between concept heavy story-telling and creating very real and more relatable topics.
“I wanted to make this song as powerful as possible without just writing super heavy breakdowns and I didn’t want to make these super cringey mosh callouts either,” says Mikey. “Because this is a topic that’s actually quite dear to me, as while I don’t know anyone personally who serves in the army, I have a lot of respect for those people who put their lives on the line to protect people. Even though sometimes they are just following orders, when they come back, often many people don’t give a shit about them. There are so many “returners” who get forgotten about once they’re out of the military, and while there are organisations that help veterans with PTSD, not many go about it sadly.”
Sadly, the rate of suicide among our current serving Australian Defence Force members is much lower than the general population, yet it’s higher for those who have left the force, particularly for those under 30 years of age, as The Guardian reported in March. Dr Katelyn Kerr from the Australian Institute for Suicide Research and Prevention (AISRAP) also told an inquiry earlier this year that “Out of the 229 veterans that we studied, a quarter of these had had at least one suicide attempt“. Which is a quartet too many, quite frankly.
As it stands here, ‘War‘ is heavy music fittingly coupled with a heavy (and very real) theme.
Again tackling a serious topic of discussion, we have the fourth song, ‘Thirteen Six (Paramour)‘, originally an interlude track that the band expanded upon for the EP. It’s a song that both marks the beginning of the main Gloom story and also ushers in of the end of the ‘Homecoming‘ EP. ‘Thirteen Six (Paramour)‘ or simply ‘Paramour‘, a title that also marked the EP’s actual release of June 13th, is also the one song on this EP that’s not from Ethan’s perspective. Much like ‘War‘ before it, the narrative here is a conduit, ensuring that even if listeners don’t latch onto these characters, they can still take from something from the band’s music. And in this case, it’s a bleak tale of domestic abuse.
“‘Paramour’ has an underlying story that I didn’t tell in the song due to the lyrics and the message that I wanted to push. The underlying story is that Ethan had a relationship with Emily Scarlett [the director of Section 13 for those of you paying attention] which he broke off before the events of ‘War’ and ‘Fear Me’. Scarlett starts making his life a living hell when he returned, affecting his relationship with his brother but also Ethan’s partner, Isabelle. As Ethan is riddled with mental illness and PTSD from his time overseas [‘War’] and with being influenced by Scarlett, a person who manipulates others, he breaks and lashes out at Isabelle. The top layer of ‘Paramour’ is that it’s a story of domestic abuse, and it’s all from Isabelle’s perspective and is her seeing that Ethan’s no longer the same person anymore. Hence the lyrics, “There’s a war inside your head but there’s a battle out here“.
Mikey pauses and then continues, mentioning the real blood that’s found in this song’s metaphorical waters.
“A friend of ours was going through some awful abuse at the time. Past friends of mine have dealt with that and I’ve also dealt with abuse and being manipulated in my own past relationships, and I just thought “Fuck it, I need to write about this now.”
‘Paramour‘ sets up the EP’s blistering finale, ‘Witch Hunt‘; a brutal two-pronged attack against one of these key fictional character (Emily Scarlett) and a very real person who without saying too much, is someone who has negatively impacted Gloom’s members to a great deal.
Firstly, ‘Witch Hunt‘ concludes Ethan’s story for now; with the protagonist killing the Section 13 Director and then taking his own life to enter The Rabbit Hole in an effort to find Rachel in hopes of “restoring” Jay from the Gloom.
“Scarlett comes in and home wrecks, for lack of a better term, and that’s where ‘Paramour’ ends and this is where ‘Witch Hunt’ starts. It’s right here that Ethan realises that many of the things that happened in ‘Fear Me’ – like Rachel’s death and Jay’s incarceration – where all due to Scarlett. As part of his own deal to get into The Rabbit Hole, Ethan must tie up a loose end for Jay, and that loose end is of course Scarlett. He kills her and then himself to go to the Rabbit Hole to find Rachel.”
Secondly, this track features a variation of a song title from ‘Fear Me‘ – the seventh song, ‘When I Walk, My Regret Follows Like Shadows‘, which is heard here as “Now wherever I walk/your shadow follows like regret“. I took this lyrical inclusion to be akin to much of Gloom’s other lyrics; reused lines to help further push the world-building of their story. However, again like the true intention of ‘Paramour‘, this song is more based in reality than fiction.
“This song was written because of how fucking angry I was at someone for how they had treated a very close friend of mine. I mean, this was really stepping over the line, and so I decided to call out this person on this track. There are certain reasons why some lyrics return, and sometimes, they aren’t for the same reasons as others,” states Mikey.
Earlier I mentioned that there is a guest spot on this song, and that comes from Justin Johnson of U.S band, Gift Giver. Johnson has a nice little feature towards the end of the song, garnering what is one of the sickest pit-calls you’re likely to hear all bloody year – “I bet you’ll feel ashamed when I blow out my fucking brains“.
“I wanted to make a very, very fucking direct statement with Justin’s part”, states Mikey, and he’s not wrong – the Gift Giver frontman more than delivered.
“A lot of the song has a hidden underlying story, but this track was more focused on getting out a side of a situation that happened to a friend of mine that ruined a lot of relationships for him. This was my angry, very angry vent about it all. That’s why it’s so hateful and angry throughout, and anyone who knows us personally will know exactly who this song is about. This person made a friend of mine’s life an utter hell for a very long time. I said to myself that when I first started Gloom that I wouldn’t ever put the C-word in a song unless it really deemed it… and now we’ve reached that point with this song.”
iii) “God Abandon Me”:
Now, from this final song, and as you’ll soon see below, the path of this story then splits in two.
Firstly, Jay is cured of his Gloom state (though it’s not confirmed whether or not Rachel is actually found), and Jay escapes the Section 13 asylum with two associates; one of the few members of Echo Squad that Jay didn’t kill, Slendy/Charlie Phillips and a largely unknown player called Moses, who will be introduced more in future releases. Now, the second branching path of this EP’s conclusion is something referred to by a code – “251520188“.
Mikey says that those who know the band, and I mean really know them and how they operate with their releases, will figure much of next release out fast, also hinting that something non-musical is on the way. But if you look at that number and are scratching your head, allow me to offer some help. On the band’s Facebook bio, you see this quote – “we are all 4-5-1-20-8 // 4-5-1-12-5-18-19“. When you line those numbers up with the alphabet, you get “we are all D-E-A-T-H // D-E-A-L-E-R-S“, which pertains to Ethan’s alias and the name that was given to his squadmates for their horrendous fuck-up in Afghanistan.
Applying that same process to “251520188“ gives you “B-E-A-E-T-B-H-H“. Not much luck there, I think. But crunching “25-15-20-18-8” instead gives you “Y-O-T-R-H“. I’m not sure if that’s at all correct and the band were very close-lipped about future releases, but hey, it’s a start at least.
Now, in order to help those interested in the characters and to better grasp this overarching story, Gloom very kindly did up a handy timeline for me; showing where this story went and where it’s going. When I ask Mikey about this timeline and if pieces like this mean that the band has presented their story in the best way, he believes they’ve done their best.
“I’d like to think that we’ve explained it all very well and there was a lot to explain. In fact, the only thing that we haven’t explained is the origin of some of the other side characters. We do get questions every now and then from people asking about the characters and what certain songs do mean, and our page is completely open for people to ask and we’ll always answer.”
iv) “Only the grittiest will survive”:
Finally, there are a few other things that need to be addressed.
First off, the band’s abbreviated name and that “darkness” that surrounds Jay – the titular “Gloom” – actually doesn’t mean one particular thing to the band or to Jay as a character. Rather, it’s whatever the listener can associate it with.
“With the Gloom, I have always related it to darkness”, states Mikey.” It’s just this big black hole of emotion, and as much as I made it any entity, it would most likely be that of rage. Past songs like ‘Oxymoron’, ‘Mud’ and now with ‘Witch Hunt’ really vent that rage. Gloom is a culmination of all those bad feelings that you feel, and if you don’t do something about them, they will consume you. Which is the metaphor I used for Jay.”
And there are indeed a lot of metaphors at play with this band, as ‘Homecoming‘ shows. However, which part of Gloom comes first – their music or their narrative and metaphors?
“At this point in my life, it’s the music”, states Mikey. “Though, sometimes, they do coincide at the same time. I will often write a song with a specific character in mind. However, I do think it’s less about the actual characters than it is what’s happening in the story. So, a violent-sounding song will be written for a violent scene in the story or if it’s slow and melodic, it will be for a slower, more emotional moment. I write all of these songs with a purpose in mind. Whether they get used or not, is up to the rest of the band. We are planning to make the next album a more communal effort, as I wrote all of ‘Fear Me’ and we had the split EP dropped on us and I had written all of these songs with the exception of ‘Paramour’.”
With having a long cast of characters, the narration may easily become a convoluted mess. And at first, it may almost seem that way to some, especially when the story deepens beyond revenge, shady government groups, and military clusterfucks and enters the realm of the spiritual and supernatural. As the guiding hand of this story, does Mikey ever feel like he’s ever forcing himself to make it work?
“With Jay, it’s very easy as there’s so much happening around him. With Scarlett, I just have to mention the Witch or her red hair or with Rachel, she’s the angel. With every other character, I can weave them in somehow and they all have their own phrases or aliases to work with.”
Now, while you’d be wrong in saying that Gloom’s story takes influences from anime (that was one of my first questions to the band, actually) you’d be more accurate in its graphic novel influences. And like comics, the construction of a cohesive world – one that’s consistent with its tone, world-building and defined characters – isn’t the easiest thing to create. When done well, on one notices. When executed poorly, the immersion is ruined. When asked if he’s worried that he may slip up and become inconsistent with the world he created, the real world personification of Jay sitting before me gives a blunt answer.
“No, because I know these characters inside and out. They’ve developed and changed over the years into what they are now. With this new EP, I knew that I had to do it right in explaining Ethan as a character. Even with Jay’s part in ‘Brother’, with him saying “fear me“, that was my first tie in between these two stories”.
Of course, with creating such a large and abstract story, sometimes writing the very start and the very end is often the best way to merge those two narrative points. As it stands, this story does an overall direction in mind, though the band are obviously keeping that under wraps for now. However, I personally think that working towards such a narrative goal is just that extra bit more creatively fulfilling than just writing riffs mosh parts for your band’s new release, something the band agrees on with moving forward.
“There are two honed in characters that are planned for the next album and Jay will feature in it at some point. And that’s the thing that I found with Defeater; their albums are about the same thing, but there’s only so many times that you can do certain things for one time period. Therefore, Gloom’s story is an ever-continuing entity”.
And that’s what I’ve come to love about The Gloom In The Corner – they go beyond their music to craft a fictional world that their songs can give life to and even draw from; creating something more layered and interesting than many of their peers. Besides, even if you don’t like nor attach to this story, you’ve still got some wicked heavy music to enjoy with ‘Homecoming‘!
Header photo credit: Aidan Bedford.