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Digital Subscriptions > Terrorizer Magazine > Terrorizer 282 > ALBUM OF THE MONTH

ALBUM OF THE MONTH

TRUMPETS AT DAWN

FULL OF HELL

‘Trumpeting Ecstasy’

PROFOUND LORE

You might think you like intense, loud, heavy music, but you don’t really. Not, like, properly; of course, that band you like are pretty heavy, probably. But they’ve got nothing on Full Of Hell.

This isn’t to say that Full Of Hell are louder, more de-tuned, deeper or have a crunchier guitar tone than all those crappy death metal bands your weird mate likes. It’s something far more unsettling than that. There’s a genuine intensity to their music that isn’t found in any amount of roaring about praising a great demon who you don’t really even believe in. The horror in Full Of Hell’s world is something far deeper than gore or monsters: it’s the horror of self-hatred, genuine misanthropy, the realisation of the way we’ve utterly failed the world and each other. To set the tone: the album opens with a distorted Werner Herzog telling us that even trees “are in misery.”

While it’s hard to keep up with the band’s seemingly endless stream of split releases, EPs and collaborations – last year saw the release of ‘One Day You Will Ache Like I Ache’, produced along with The Body, while previous effort ‘Full Of Hell & Merzbow’ does what it says on the tin – this album is the one to catch up with if you’ve missed Full Of Hell so far. On the one hand, it’s far more straightforward than those collaborative albums – this is, first and foremost, a grindcore album. However, saying it’s a grind album doesn’t really do this justice. Full Of Hell are one of the few contemporary bands who’ve really captured the spirit of old-fashioned powerviolence, in the sense that it all just feels kind of… wrong. There’s something unsettling about this album. It’s not just aggression and anger, but also something more deeply troubling that motivates this album and band.

Full Of Hell could easily do the things other bands do, if they wanted. The screeching and bellowing vocals could go toe-to-toe with any number of death metal bands, and there’s riffs that prove that the band could play hardcore punk or even black metal if they felt like it. ‘Crawling Back To God’, meanwhile, features one of the most convincing impressions of Pig Destroyer/Agoraphobic Nosebleed’s Scott Hull you’ve ever heard. Full Of Hell could sound like other bands if they wanted to, but they don’t. Mention must be made of the title track, featuring deceptively calming – or creepy, depending on how you look at it – singing from Canadian singer-songwriter Nicole Dollanganger, before all hell breaks loose again. The track is one of the most obvious places on the album to show the band’s penchant for power electronics, although noise is used throughout in an interesting and subtle way.

This is a full-on blast of an album that shows how one-note a lot of other extreme bands are. Essentially, if you want to feel uncomfortable in your own skin, this is just the ticket.

[9] ED CHAPMAN

THE BUG VS EARTH

‘Concrete Desert’

NINJA TUNE

Sprawling electronic soundscapes, wrapped up in western guitar twang – there was never going to be a title for this record more appropriate than ‘Concrete Desert’. This collaboration between industrial/ electronic artist Kevin Martin (AKA The Bug) and Dylan Carlson of psychedelic drone band Earth doesn’t feel so much like a “versus” as it does a partnership, with each respective act’s contributions complimenting each other perfectly. The Bug lays down cold, bleak electronic beats as the foundation of each track, leaving breathing space for Dylan Carlson’s unmistakable guitar tone to work its magic over the top. The two elements play off of each other to create an atmosphere that feels desolate and melancholic.There is the occasional moment that will have your toe tapping, however. The highlight of the album is most definitely ‘Snakes VS Rats’ – it’s the most up tempo of all the songs here, starting with a static intro that leads into an almost dubstep like dynamic, before strong and steady chords ring out over the top. The beat writhes like a serpent, dropping out at all the right moments. Martin and Carlson are undoubtedly figureheads of their corresponding genres, so this is a meeting of minds that would obviously yield impressive results, and yield impressive results it has. ‘Concrete Desert’ is one of the most creatively unique releases to grace the alternative music scene this year and it makes for an intriguingly addictive listen – there is something new to discover with each and every playthrough, making for a release that has staying power.

[8.5] ANGELA DAVEY

WHEN WORLDS COLLIDE

THE BUG (AKA KEVIN MARTIN) ON MEETING DYLAN CARLSON AND HOW THE ALBUM WAS BORN

“We met via the guy who was eventually responsible for the ‘Concrete Desert’ artwork, Simon Fowler. I mentioned to Simon, when I began making my ‘Angels & Devils’ album, that I would love to work with Dylan, and wanted to approach him to appear on ‘A&D’. But once Dylan and I worked together, I realised my collab with him deserved its own space, and it would be better to release the material separately. Those initial recordings would subsequently become our first single, as The Bug Vs Earth, ‘Boa/Cold’ on Ninja Tune. The reception had been pretty emphatic, and more to the point for me, I felt that sound of the single was totally FRESH, and could be a perfect foundation to build upon. I liked the fact we had come from different musical backgrounds but seemingly bonded via our love of drone, dub, cinematic soundtracks and disorientating volume.”

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About Terrorizer Magazine

It’s safe to say most of the writing team this month are suffering post-Roadburn blues. It happens every year without a shadow of a doubt. If you want to read up on all the fun you either witnessed yourselves or sadly missed out on, for whatever reason, please turn to the live section of the magazine and bathe in some of the highlights of this year’s event. We also have some killer features in this issue, and as always, it’s a battle to feature every band Team Terrorizer loves. The good news is, what’s inside is a broad spectrum of bands who have long-established relationships with the magazine and with you guys too. Dying Fetus grace the cover, which we are very honoured about, and elsewhere there’s some killer interviews with Oxbow, who have returned after a decade; horror rocker Wednesday 13, Schammasch talk about their new opus, VoiVod get nostalgic with us and Vallenfyre have frankly blown the roof down at Tezza Towers with their album of the year contender. So what are you waiting for – stop reading my notes and get to the real action! See you next month! Adios
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