People love to make jokes about band names, a favorite for years being 90’s easy listening rap rock outfit Incubus being named after a mythological demon that kills innocent women with sex. You’ll find no such flagrant false advertising with Full of Hell though. Each recording and performance I’ve encountered of the MD/PA technogrind alchemists has been overflowing with pure, overbearing dystopian hopelessness, and none more so than on their latest LP, “Trumpeting Ecstasy”.
FOH’s verisimilitude is best exhibited on “The Cosmic Vein”, a whiplash inducing stop/start noise vortex that splits apart into clean, driving old school thrash before chaos reigns once more. FOH’s brutal attacks are all anchored by vocalist Dylan Walker, who approaches almost Trevor Strnad levels of oral schizophrenia on these tracks. Walker does get some help here though, not that he needs it. “At The Cauldron’s Bottom” features Converge‘s Nate Newton sandwiched between doomy, depressive riffing and a syncopated death rattle that seemingly stretches out into infinity, and angel voiced agent provocateur Nicole Dollanganger guests on the brooding title track.
Elsewhere, blastbeats explode at the outset of “Fractured Quartz”, a foundation trembling bass breakdown anchors “Bound Sphinx”, and classic, circle pit ready hardcore informs “Crawling Back To God”. But Full Or Hell are at their best when all the disparate elements of their attack coalesce into one unified cacophony, as on “Digital Prison” and the assaultive opening salvo “Deluminate”.
Full of Hell are part of a movement, including fellow personal favorites Code Orange and of course Youth Code, that have folded elements of 90’s flavored industrial into their thrash and grind laden hardcore with incredible results. “Trumpeting Ecstasy” puts Full of Hell at the forefront, employing samples, electronics and clean/spoken vocals not to dilute their analog prowess but to force it into stranger and more foreboding hellscapes of aural outrage.