A pounding force can be heard in the hills of power violence, a burning black that sweeps the often dense and mysterious land. Evil, twisted, but unrelenting, Full Of Hell swings like a bat full of lead with their 2019 release Weeping Choir. A punishing, but substantial addition to their noisy discography full of shattered bone and ritualistic separation.
“Burning Myrrh” starts Weeping Choir off as one of the singles and first videos that came from Full Of Hell. The first blast beats on the percussion as the following instruments whirl behind is an insightful look to how the rest of the record will follow. Weeping Choir is a burnt and fragmented frame of a once beautiful landscape that has now become destroyed beyond recognition. Full Of Hell has always come with brawn behind their sound, an ability to shatter bedrock into a fine powder. As they continue with “Burning Myrrh” and this overarching style, they march deeper and deeper into despair.
The transitions from “Burning Myrrh” to “Haunted Arches” is sudden and with little in form of a reprieve. Instead, Full Of Hell opts for a full-frontal hammer that smashes down against an anvil as the backdrop. Two hard places which crush simultaneously creating a splash of lightning that continues into “Thundering Hammers” which is controlled chaos. Those first rips on the guitar are invoking to create movement, stage diving right into a crowd of disorder and commotion before rising above the waves of bodies. As “Thundering Hammers” continues on, the entire band falls into this frenzy where blood is in the water and sound becomes the weapon.
Also present on Weeping Choir are the noise-based backing tracks where “Rainbow Coil” is this haunting and also sporadic display of ghoulish hell. The radio feedback strikes confusion where the random outbursts of percussion and oni screams are onyx against this white noise background. Everything about the track spells fear as “Rainbow Coil” is an intermission for the senses. It rests back on the ears and instead teases the mind before falling back into the driver seat of machine gun fire that obliterates speakers and eardrums.
Most of the tracks on Weeping Choir fall under the three-minute mark which leaves the track “Amory of Obsidian Glass” to become a standout. It outliers the rest with a near seven-minute long ballad that has these peaks and valleys. It is one of the true performances on Weeping Choir that takes time to rejuvenate while staying deep underground. As the melodic vocal ensemble sways within the wind, the often daunting and rushed work of Full Of Hell becomes a slug to the gut. Less of a rapid-fire volley of fists and more of a swing of the axe.
As those reigning strings can be heard with the final siren song from Full Of Hell, Weeping Choir finds peace somehow through the turmoil and pain. Often, the drilling work can be overwhelming but Weeping Choir finds a symbiotic balance that relies on the mental and physical game to achieve a perfect example of orchestrated and planned violence.