To the untrained ear, Full of Hell would be all the ingredients necessary to put together the most unlistenable of songs. At first glance the band might sound like a run of the mill Grindcore band, yet as the filth thickens, there is actually an indelible amount of variety in this noisey foursome. Having pumped out split EP’s until the cows come home at last, we’re treated to a feature length of their unbridled cacophony.
[tracklist]
- Deluminate
- Branches of Yew
- Bound Sphinx
- The Cosmic Vein
- Digital Prison
- Crawling Back To God
- Fractured Quartz
- Gnawed Flesh
- Ashen Mesh
- Trumpeting Ecstacy
- At The Cauldron’s Bottom
[/tracklist]
[details]
[length]23:00[/length]
[record_label]Profound Lore[/record_label]
[release_date]May 5th 2017[/release_date]
[/details]
Taking on the persona of Grindcore “Digital Prison” immediately goes for the jugular, it’s forty second deluge never even pausing for a second. Every ounce of fury is expunged upon the listener with no remorse whatsoever. Before taking to the drunken stumble of “Crawling Back To God” after a Blair Witch style spoken introduction the serrated riffs are temporarily traded for deranged groove.The sharp teeth of “Fractured Quartz” ‘s staccato riffing contrasting the with bullish drums makes for a definite, brief highlight of the album.
One of the most oppressive sub genres, Grindcore’s entire purpose is to audibly destroy the listener. Wanting to be against some of Metal’s more traditional leanings, Full of Hell experiment with all sorts of elements from subgenres. In particular the banshee like howl of frontman Dylan Walker. Ranging from gut churning lows to Black Metal style highs reminiscent of likes of Deafheaven. Sprinkling in elements of Industrial, title track “Trumpeting Ecstacy” works wonders at weaving this malicious atmosphere together. Despite having a plethora of guest appearances, among many others of Canadian singer Nicole Dollanger is the most pertinent. Her contrasting incredibly soft voice over a bed of static creates a startling contrast and a small break from the unrelenting pace. In part aided by the neatly packaged, fast becoming patented production of Kurt Ballou in God City.
Spearheading the album into its final movement after the reverie inducing interlude is the whopping six minute closer “At The Cauldron’s Bottom“. Starting with typical tremolo style riffs, eroding blast beats don’t let up until the album final section. Finishing with an Doom like riff, repeating for a good four minutes evolving into a mantra like state. Finally making the listener succumb to the sheer power of the band with its final statement in Dave Blands ‘s genius playing of toms. Creating this punitive finality in the song. I am aware that I have just showered the record in pretentiousness, however it isn’t without warrant of a point. Full of Hell are a band that are so to the point, uncompromising and truly uncaring, it can be an intimidating listen at first, behind all the agression, spite and venom there lies a brilliant record.
[verdict]Yes[/verdict]
[why]Despite being shorter than the classic Reign In Blood length, the callous, unforgiving nature of Full of Hell is far more intense. For fans of Extreme Metal, it would be a crying shame to miss.[/why]
