Opening with “Guiding Blight,” a deep inhale from vocalist Dylan Walker creates air being taken from the lungs of the audience as quickly as the blast beats come to frame. The belligerent instrumentation is some of grindcore’s most coveted and profound groups to grace the ears.
Light disintegrates and becomes a scarce resource on Garden Of Burning Apparitions, instead, there is Spencer Hazard on guitars that can not only destroy with precision but conduct a twisted sense of beauty to Full Of Hell. Having Dave Bland on the percussion as well as Sam DiGristine on the bass; Garden Of Burning Apparitions is the four horsemen of the apocalypse through sound.
Pieces like “Murmuring Foul Spring” get into rhythms where the intensity desires for Acetaminophen to be ingested before listening with headphones. Full Of Hell not only paints images of despair through the production but lyrically are infinite rays of burnt-out sunshine.
Walker Describes, “Sickening the herd with billowing smoke, the might of pigs, the stench of dogs.” As horns and harsh noise elements begin to pour into the track, Full Of Hell becomes this asphyxiating factor to the record, once again illustrating, “Sickening the herd with billowing smoke, the might of pigs, the stench of dogs.”
What follows directly after is “Derelict Satellite” which is a furious mess of angry swarms of noise and feedback while Walker shouts through the void. Like direct sunlight to the eyes, “Derelict Satellite” burns the nerves and forces the audience to wince with pain. Digging the blade in deeper, Full Of Hell becomes an executioner with the near title track, “Burning Apparition.”
Commendable for being this unstoppable onslaught for the audience to endure, “Burning Apparition” highlights Bland’s outstanding percussive skills and the ability to sequence a curb-stomping. His rapid smacks on the cymbals and bass drum make one of the more disgusting uses of blast beats, then forming a circle-pit directly after with little to no reprieve.
One of the singles from Garden Of Burning Apparitions, “Industrial Messiah Complex” has some notions to earlier pieces like “Thundering Hammers” from their 2019 release Weeping Choir. The guitar from Hazard here is mechanical and etches into the ears as instrumental torture on the ears.
When combined with the other elements like ripping bass and percussion grooves together, the scowling vocals from Walker become a vicious cycle of growls and shouts. “Industrial Messiah Complex” combines auditorial pain with the awe-inspiring might of storm clouds that surround a small town. As lightning cracks and damages the structures around the audience, they can do nothing but watch as Full Of Hell marches through without seemingly stopping at any point.
There is no mercy, no forgiveness, and certainly an undeniable means of synchronicity that plots the way for Full Of Hell to lead. Whether by blood or threats, Garden Of Burning Apparitions sees Full Of Hell at their most ingenious and forcibly mighty.