The last time Full of Hell released a non-collaboration album, it was widely praised for its focus on bringing the band's death metal influence to the forefront, and dialling down their noise elements from previous releases. It's indeed a difficult task to create something better than Trumpeting Ecstasy, but they've managed to do so with their latest record, Weeping Choir.
While Trumpeting marked the band's most fully developed version of the grindcore and death metal aspects of their sound, Weeping Choir uses all of their various strengths in relation to where they left off. Whether it's noise, grind, punk or caveman death metal, the band capture every aspect of their sound without lingering on a single element long enough for you to get comfortable.
In typical fashion, the band rip straight into brutality with "Burning Myrrh" and "Haunted Arches," which feature plenty of blast beats, harsh riffs and instantly recognizable shrieks from vocalist Dylan Walker. While their grind-leaning tracks have always been chaotic, the band pull off one of their most wildly written moments together with a squealing saxophone complemented by blasts of noise on "Ygramul the Many."
One of the only complaints that could really be made about Trumpeting Ecstasy is the relatively low noise elements found on the record. Luckily, the band incorporate more noise this time around, with screeching feedback finding its way into tracks like "Angels Gather Here" and "Armory of Obsidian Glass." They also sneak in a full noise song with "Rainbow Coil," leading into "Aria of Jeweled Tears," which is easily one of the band's most violent tracks of all time.
If noise just isn't your thing though, Full of Hell have you covered on the death metal front too. The band tear through meaty down-tempo riffs on "Thundering Hammers" and "Silmaril," bringing a very cavernous '90s death metal vibe to the record. They also pull a straightforward punk riff out of nowhere on "Downward," which feels a bit out of place, but in a good way.
Where Trumpeting Ecstasy set the bar for what Full of Hell's sound is, Weeping Choir builds it into something even more intense. The record is a perfect amalgamation of everything they've done across their career, with a few new sounds tossed in for good measure.
(Relapse)While Trumpeting marked the band's most fully developed version of the grindcore and death metal aspects of their sound, Weeping Choir uses all of their various strengths in relation to where they left off. Whether it's noise, grind, punk or caveman death metal, the band capture every aspect of their sound without lingering on a single element long enough for you to get comfortable.
In typical fashion, the band rip straight into brutality with "Burning Myrrh" and "Haunted Arches," which feature plenty of blast beats, harsh riffs and instantly recognizable shrieks from vocalist Dylan Walker. While their grind-leaning tracks have always been chaotic, the band pull off one of their most wildly written moments together with a squealing saxophone complemented by blasts of noise on "Ygramul the Many."
One of the only complaints that could really be made about Trumpeting Ecstasy is the relatively low noise elements found on the record. Luckily, the band incorporate more noise this time around, with screeching feedback finding its way into tracks like "Angels Gather Here" and "Armory of Obsidian Glass." They also sneak in a full noise song with "Rainbow Coil," leading into "Aria of Jeweled Tears," which is easily one of the band's most violent tracks of all time.
If noise just isn't your thing though, Full of Hell have you covered on the death metal front too. The band tear through meaty down-tempo riffs on "Thundering Hammers" and "Silmaril," bringing a very cavernous '90s death metal vibe to the record. They also pull a straightforward punk riff out of nowhere on "Downward," which feels a bit out of place, but in a good way.
Where Trumpeting Ecstasy set the bar for what Full of Hell's sound is, Weeping Choir builds it into something even more intense. The record is a perfect amalgamation of everything they've done across their career, with a few new sounds tossed in for good measure.