Musical Style: Doom Metal	Produced By:
Record Label: Soundmass	Country Of Origin: Czech Republic
Year Released: 2022	Artist Website: Trinity
Tracks: 7	Rating: 85%
Running Time: 43:20

The Trinity summer of 2022 Soundmass Records debut full-length Memories Of The Ancient Presence holds true to the traits instinctive of traditional doom metal, indicating thickset and weighty guitars, plodding tempos and a bleakly forlorn atmosphere.  The project of Czech Republic based multi-instrumentalist and founding member Bard draws comparison to Candlemass, Solitude Aeturnus and Paramaecium, but go beneath the surface and you will realize a darker Gothic influence ala Savior Machine (referencing artist lower register vocal penchant to bring to mind Eric Clayton) in addition to a symphonic leaning (found in co-female vocalists Judith and Mary).  Yet, a progressive slant imbuing the Trinity songwriting hints of Veni Domine and Sombre Holiday - noting its inclining to extend songs into the eight and nine minute range - not to mention some epic metal moments pointing to Warlord.

Bard founded Trinity in 2007 when he began collaborating with Judith and Mary, whom he had previously worked with on other musical projects.  The trio started demoing material over the next several years but progress stalled due to their commitment to other bands.  Staring in 2016, however, work resumed on Trinity, with the subsequent four years spent working on production and recording along with improving arrangements and lyrics.

Staying true to the doom genre, the Trinity prose covers the questions of life and death we encounter on a daily basis but separates from how the group’s message is not despair but hope in situations that seem hopeless.  Trinity best summarizes in its press material when it accurately describes itself as ‘doom and rebirth’ metal.

“Memories Waking” opens the album as a two and half minute interlude piece home to angelic choirs and ringing bells as Bard accents the desolate scene with his somber vocal presence.

First full length cut “The Ancient Presence” plods to astringent riffs over double kick drum, downcast with its unfathomable form and chilling keyboards but also not forsaking melody as realized in the engaging refrain to see tempo gradually pick up.  A well-crafted lead guitar run rounds out a cut that brings to mind Malta’s Nomad Son or the more accessible side to Switzerland’s Pÿlon.  Lyric snippet:

Words were spoken
And the act of ages was finished
The cross had been risen
And the tale of tales was born
Men try to forget
Powers of Dark want to banish
But memories call me again
To blunt the evil thorn

Light is greater than Darkness
When Light comes on
Darkness is gone

Eight and half-minute “Sanctuary” is first of albums three epics.  It starts gentle and dreamy ahead of the trenchant guitars and airy keyboards to convey its length, the Gothic tinged sentiments upheld by first appearance of symphonic female vocalists Judith and Mary alongside a succinct bass line to chill the bone.  A lengthy instrumental run of razor like riffs and enlivened lead guitar sees artist bestowing his abundant licks and chops.

Of equal span is “Silent Dreams”.  Song breaks down into three parts, with first home to a drudging mentality in staying true to the groups doom buts but gives way after two minutes to the stilly done second as distant guitars and female harmonizing propel the subsequent two in ethereal fashion.  Third abruptly picks up tempo to carry the song to its end, emanating forwardly as double bass takes over and underscores an interchange between male and female vocals and haunting refrain to build upon the sublime feel.  Lyric snippet:

Satan like a screaming lion
Searching, prowling, causing fear
I’m not scared when he is near
Christ’s my victory

Satan now with hollow smile
Demon-vamp is tempting me
I am turning out my eye
Christ had set me free

“Kyrie Eleison” completes the trilogy of lengthy cuts.  Medieval style chanting to start gives way to the acerbic guitars to plow ahead, interweaving with the no-nonsense verse sections and enchanting refrain decelerating with its downtrodden use of keyboards.  An instrumental run starts hauntingly only to gradually build to mesmerizing harmonies and swiftly moving rhythm guitar.  Similar to the other two epics, the subtle melody rising to the surface keeps the song fresh despite the span.

Albums final two cuts range between four to five minutes, beginning with “The Fall (Jericho)”.  Song underscores a regal bearing to start with orchestration and open-air guitar bringing to mind classic Warlord cut “Enemy Mind” (off Rising Out Of The Ashes from 2002).  It proves varied moving ahead, transitioning between brooding moments in which forlorn vocals hold sway and others uplifted in power metal form as female vocal harmonies play a lead role.  A swiftly moving instrumental run sees Bard cut loose with his mercurial lead guitar abilities.  Lyric snippet:

Behind a locked gate, inside the mighty wall
Waiting for their fate keepers of Jericho
Six days in fear because of Israel
Danger is too near, it circles day by day

Fright in their hearts, when comes the final day
Praying to deaf gods, who can’t help anyway
Who wants to stay? Who will fight to the end?
On the seventh day priests will take horns in hand

Time for the Fall

A classical feel resonates from the guitar melodies and choral vocals to start “Into The Light”, the dainty feel upheld through the opening verse sections until bludgeoning guitars rush in to set a staunch tone only for the bottom to drop out as the graceful semblance returns.  Male and female vocals trade off for the catchy refrain in which double kick drum asserts.  In the end, this is a classic example of not just doom but also rebirth metal as the Trinity stauncher and melodic sides converge.  Lyric snippet:

Did you feel stroke of Hope?
Our message is neither Fear nor Sorrow
Into places where Darkness rules
Light will come tomorrow

Beyond shadows of Hate
New Presence means the dawn of days
In the places where Darkness lost
Find Mercy and Grace

Into the Light
Out of Doom

Memories Of The Ancient Past equates to a quality debut doom metal album from Trinity.  That said it is not just doom in that you will find moments ranging from the Gothic to progressive to symphonic to epic to give the project a balanced feel.  I appreciate equally the lower register male and operatic female vocal trade off not to mention equally high quality musicianship from Bard.  In the end, I hope this is the first of many projects to come from this talented Czech Republic three piece.  Doom metal fans rejoice!

Review by Andrew Rockwell

Track Listing: “Memories Waking” (2:21), “The Ancient Presence” (5:25), “Sanctuary” (8:33), “Silent Dreams” (8:22), “Kyrie Eleison” (9:30), “The Fall (Jericho)” (5:14), “Into The Light” (3:55)

Musicians
Bard - Lead Vocals, Guitars, Bass & Samples
Judith - Lead Vocals
Mary - Lead Vocals