Full Of Hell is the equivalent to stepping onto thirty booby traps at once, walking in a room filled with a thousand crashing cymbals, or jumping headfirst into an ocean made of amplifiers. They are loud, they are noisy, and they will literally crush everything in their wake that stands in their path. Nothing can prepare you for what Full Of Hell brings with their newest and latest record, Trumpeting Ecstasy.
With a mix of straight grind core and noise, Full Of Hell makes leaps and bounds once again in a mosh pit inducing, rage-filled, fist-fight to the finish line. Trumpeting Ecstasy is also an enjoyable experience that reminds everyone just how intense music can actually become in such a short amount of time. The introduction track, “Deluminate” gives only a short, near fifteen-second salute to misery before letting Full Of Hell jump head first into the listener, creating an instantaneous wall of obliteration to follow. Most of Trumpeting Ecstasy is going to be blasting percussion from Dave Bland who lays down the deadly percussive work, the guitar being handled by Spencer Hazard, and the vocals aspects from Sam DiGristine who also doubles as the bass player, and Dylan Walker who handles the noise machines and electronics. Full Of Hell makes fair use of their musicians and their tools of destruction as well. From the moments of synthetic glory where Walker can shine through, to the intense breakdowns where the instrumentalists of Full Of Hell take the helm and steer the track like a mad bull. Hardcore may be a familiar genre, but Full Of Hell makes completely sure that every second is used for assaulting terror. From the sudden segues of tracks like “Digital Prison” to the track, “Crawling Back to God,” there is always a consistent use of sound.
“Crawling Back to God” is actually one of the more relaxed tracks present which is a complete oxymoron when talking about Full Of Hell, but it actually uses a lot of space between their breakdowns and constant assaults. The breaks in the action feel like much-needed stress relievers, but this method is quickly abandoned as Full Of Hell moves straight into “Fractured Quartz” where the production here is powerful enough to shatter diamond. From the feelings of angst when Full Of Hell begins, to the feelings of relief when each track ends, Trumpeting Ecstasy is a rollercoaster of emotions, that consists of mostly anger and anguish. There is a strong disdain behind the vocal aspect of Full Of Hell and their music is quite standoffish to a majority of people which is what makes their sound so personally enjoyable and unique. If someone can find solace within Full Of Hell then they could find enjoyment out of bands like N.A.I.L.S. and even The Body which are both bands that strike without mercy and control everything around them.
The seguing within these tracks is the most technically impressive of Trumpeting Ecstasy and it really does feel like the entire record is one, long, hardcore assault on the ears. Wonderfully produced by Kurt Ballou who has one of the most impressive résumés in hardcore. From working on practically every Code Orange record, Coverge’s records, Isis, Suicide Note, and High on Fire, Kurt Ballou has an incredible record and a distinct style of production. Full Of Hell is something that just simply has to be heard to be believed and Trumpeting Ecstasy is a record that can not be played enough. It demands to build a monument in its name, to then be burned and stomped in the ashes.