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.
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.