Trials is a record of heartbreak and torment. It all begins before you’ve even listened to the first track, with The Monroe Transfer’s painstaking attention to detail embodied in some fine packaging. The album comes in a knitted cloth bag, a delightful treat for anyone who is averse to the multitude of carbon copy digipacks and tatty jewel cases. But before the virgin listen to the album, you’re forced to tear apart the stitching of the lovingly crafted sleeve. It’s a powerful act that forces the conscience to savour what is within the wrapping.And what an album. The Monroe Transfer may balk at the idea of any kind of label, but this is truly post-rock on a scale the likes of Godspeed You! Black Emperor pioneered. Grizzly bows of strings lay the solid foundations for ethereal electric guitars to moan dissonantly over the top. The effect is supremely evocative: ‘These Are The Bright Stars and This is How to Find Them’ starts slow, it’s melody initially trickling out of the speakers like spring rain, before things grow heavier, faster and louder as if a storm approaches. But rather than linger on any one riff, the music immediately takes a sudden panic-ridden turn. If you’ll excuse the abundant geekery in the metaphor, it’s like walking into a random battle encounter in Final Fantasy, such is the change of pace and energy.Trials is not however a re-tread through the post-rock rulebook. ‘Six Alarms’ is a haunting listen, the band sampling the disturbing informational that explains the variety of alarms used at the Sellafield nuclear plant in Cumbria, creating a truly eerie effect. The combination of a cold, emotionless voice and wailing guitars creates an intensely troubling atmosphere. And then there is ‘Sea Organ’. Attempting to recreate the sounds of a sea organ using their instruments in unique ways, this brief track creaks and cracks like an old wooden ship, with bizarre howls floating over the top. Whilst not as engrossing as the other tracks here, it’s an inventive use of instrumentation that is just short enough not to dissuade from further listening.The true highlight of Trials however is its grand opus, ‘Frozen Field, Burning Field’. In its 25 minute scope it runs the gamut between delicately orchestrated tension building to moments where distorted guitars are commanding the efforts of strings and drums alike. It’s a monumental piece, and lead songwriter/composer Nick Gill shows extraordinary attention to detail in the way it is casually and patiently pieced together.The true magic expelled here is the delicate balancing act exhibited by the band. With seven members to accommodate, it’s a miracle that things never sound too crowded. Every instrument seems to have its rightful place in the make-up of things: Rhiannon Armstrong’s quivering violin that almost seems to sing at points, Susie Gillis’ resonant double bass that is always present deep in the mix and Ed Howard’s variety of percussion that never dominates, but always appears to be the glue that holds all the separate parts together.Instrumental music of this ilk is often labelled as depressive. While Trials may have its moments in the mire, the overall impression is one of hope and excitement. Concluding track ‘Waltz’ eases off the overbearing drama of what has gone before, with that most innocent of instruments the glockenspiel twinkling amongst the rough bed of violin and piano chords.The truth is, you should already know if you will like this or not. Post-rock, modern classical or whatever you want to call it has always been a divisive genre given its reliance on certain musical tropes. But with Trials, The Monroe Transfer have shown great imagination in every aspect of their musical venture, whilst also playing up the truly great aspects of the effect that this kind of music can have on your soul. It might hurt to tear open that beautiful packaging, but Trials seems likes the perfect reassurance that the destruction of someone’s work can have a positive outcome.Buy The Monroe Transfer from Rhythm Online