I’ve been anticipating this album since late February. When Full of Hell release something new, you can sure as shit expect something ridiculous, and you’re usually right. You can expect some of the most vicious, chaotic, relentless and darkest Death, Black, Crust & Noise-infused Grindcore that your ears have ever had the displeasure of having to endure. The last we heard from them was their EP Amber Mote in the Black Vault and their insanely fantastic collaborations with Merzbow and The Body. This, however is their first actual, non-collab album since 2013’s Rudiments of Mutilation, and while we got a small taste of what these guys are capable of now with Amber Mote, I was still curious with what this album would have to offer, because if you’re familiar with Full of Hell, you never really know.
They have certainly evolved in the last few years, growing from a solid and crushing Chaotic Hardcore band into a punishing and visceral experimental Crust-infused Grindcore outfit that blends together elements of Death Metal, Black Metal, Grind, Noise and whatever other elements they can pull from their sleeve and garnered widespread awe and praise in the process. In the last few years, they’ve dabbled in Noise & Power Electronics as well, which if you know the FoH Noise stuff, you know what that’s all about. Full of Hell are basically a jack-of-all-trades type of band, which is respectable, and that absolutely shows on this album. This album further showcases how versatile these guys are with the way they can mix all these different elements together in such a unique way, without straying away from their core sound and going allover the place. Experimental done right. As far as stand-out tracks go, there are some real bangers here like the blasty, ear-shredding Deluminate, which serves as a great tone-setting opener with it’s minute-long assault of chaotic, visceral Grind, then there’s Branches of Yew & Crawling Back to God, which again, showcases the band’s versatility in mixing chaotic vicious Grindcore with hints of Blackened Death Metal & Noise. Other rippers like Gnawed Flesh & Ashen Mesh follow the same formula. The rest of the tracks are just as ridiculously good and pack just as much of that punch that make Full of Hell such an intriguing act.
The brightest shining spot on this album, however, is the title track, Trumpeting Ecstasy, which features guest Bassist (and album producer) Kurt Ballou, guest programming by The Body’s Lee Buford, and guest vocals by, shockingly, Dreampop artist Nicole Dollanganger (who I like). This track is easily the highlight of this album and the biggest showcasing of what the band is capable of other than the Crusty Grindy goodness that’s dished out throughout the rest of the album. It’s a mixture of nasty, muddy Sludge on Full of Hell & Ballou’s part and noisy industrial on Lee Buford’s end, laced with Dollanganger’s signature creepily angelic voice over the two verses. You wouldn’t think a dynamic like that can be pulled off, but it sure as hell was here. Excellent stuff. The album then wraps up with the 6-minute ripper At The Cauldron’s Bottom, that serves as the final assault of punishing Grindy viciousness as the album comes to a close.
So as expected, Full of Hell delivered once again and proved how much of a multi-talented beast they have grown into. They continue to be one of the best in the Harcore & Crust scene and in Grindcore and Experimental/Noise. Whether it be as part of a collaboration or on their own accord, you can always expect a fucking banger.
Until next time.