Profoundemonium

Trail of Tears' sophomore record, Profoundemonium, showcases the Norwegian band's consolidation and further development of the ideas explored in their debut LP, Disclosure in Red, released two years earlier. The lineup remains unchanged, although female vocalist Helena Michaelsen will depart shortly after the album's release. In fact, new singer Cathrine Paulsen is already credited as a band member on the LP. Notably, Kjetil Nordhus (who will soon join Green Carnation) makes a guest appearance on "Fragile Emotional Disorder," contributing clean vocals.

Sonically, Profoundemonium exhibits a more focused and confident approach compared to Disclosure in Red. The overt melodic death metal influences from their debut are less prominent, although the new album still features harmonized guitar leads and frequent interplay between acoustic and electric guitars, reminiscent of Dark Tranquillity's early records. However, the album's core aesthetics align more closely with the sound developed by Tristania and Sirenia during that time: a blend of blackened death and gothic metal, alternating between fast and furious sections with cavernous growls and slower, melodic passages dominated by Helena Michaelsen's contralto voice and Frank Roald Hagen's orchestrations. Michaelsen's role is significantly scaled back compared to Disclosure in Red, as male grunter Ronny Thorsen takes the lion's share of the vocals on most songs. This is not necessarily a bad thing, as I was not a fan of Michaelsen's performance on the previous album and I still have issues with her pitch and control on this new LP, such as on "Released at Last." On the other hand, the orchestrations receive more prominent usage and better treatment in the mix on this album compared to its predecessor.

The album's more focused songwriting, polished arrangements, and improved sound production elevate its listening value well above Disclosure in Red. However, some of the issues that plagued the debut LP persist on this sophomore record. The song structures still feel fragmented, and the melodies lack strength, preventing the 53-minute album from becoming a truly compelling listening experience. The transitions between sections within each song appear clunky, and many songs follow a similar tempo and template. I often find myself drifting away from the album's groove, requiring conscious effort to re-engage and pay attention to the music. While repeated listens offer some improvement, there simply isn't enough exciting material to latch onto, be it a melodic hook, a catchy vocal line, or an intriguing arrangement.

Consequently, the album does not have many standout moments, except perhaps the title track, "In Frustration's Web," and "Disappointment's True Face." The former flows better than most other songs, thanks to improved sequencing of its parts and a powerful performance by Jonathan Perez on the drums, driving the track forward. "In Frustration's Web" features a notably strong classic heavy metal guitar riff, while "Disappointment's True Face" stands out as my personal highlight from the album. The martial guitar riff and slightly robotic voice add elements of industrial metal to the song, which may deviate somewhat from the album's overall material but hints at exciting new possibilities for the band's future direction.

Overall, Profoundemonium undoubtedly represents a step forward compared to the band’s tentative debut album. However, it is difficult to shake the impression that Trail of Tears lack the class, vision, and originality of other symphonic gothic metal bands of the time, like Tristania and Sirenia and that Profoundemonium, like Disclosure in Red, finds itself in the second tier of albums released within this genre.

[Review written for the 11th Diamhea Memorial Review Challenge]