Ascending a Mountain of Heavy Light

In my parallel universe these bands would be on The Jools Holland Show, although it wouldn’t be called The Jools Holland Show, Jools would still be around, sat at a table in the corner with his ligging mates looking glum; the show would be called “Wash Out Your Ears You Cloth Eared Idiot and listen to some decent music”.  This is a remarkable album, it somehow makes generally impenetrable music into a commercial entity. I use “somehow” in the loosest possible terms here, I know it’s never going to get on the Radio One playlist in a million years, but in the same way The Residents made weird accessible this music makes metal/noise/industrial/experimental a little more palatable to the average punter who might be stuck in a particular genre hole. I’ll leave the detail to the promo people (below in italics) who give a far more coherent background story than I can or indeed have the time to do.

I bask in the unfettered joy of this noise, I know a good number of musical acquaintances will be somewhat dumbfounded by the cathartic distorted noise herein being described as commercial, but there is a need to listen carefully, and in the context of the more extreme ends of the metal world, and peel away the various layers. This is Throbbing Gristle meets Doom/Death Metal in Lee Perry’s head. If you thought Mark E Smith’s current vocal exorcisms with The Fall were too extreme for your delicate ears you should perhaps stay away, however if you are prepared to be challenged and have your perception of what music is or might be then you should take a punt on this. But you probably won’t, you’ll probably go and see that Pink Floyd tribute act in your local pub and feel content in your nostalgia. And no, Jools still looks glum, he is probably wondering where Coldplay have got to.

The Body and Full of Hell are both unique and influential forces in heavy music. Both artists welcome challenges and eschew self-promotion. Each artist seems driven to take risks and push boundaries of what is considered heavy. A clear example being that on recent tours The Body have performed without any live guitar or drums. Both artists enjoy the creative growth and music and good times that come out of collaborations. Each has collaborated often with other unique but like-minded musicians such as Thou, The Haxan Cloak, Krieg, Merzbow, The Bug and the list goes on. Despite their obvious differences in songwriting, The Body and Full of Hell are unified by their shared aesthetic, catharsis through the manipulation of emotions transformed by visceral noise and fueled by an inescapable sense of dread. They have returned to collaborate again not because of their commonalities but because of their differences and what those differences yield in performance. With Ascending a Mountain of Heavy Light, The Body & Full of Hell have integrated a love for electronic noisescapes with abrasive, precise sonic assaults into a sound unlike anything either has produced before.

Written and recorded in one week at Machines with Magnets in Providence, the music of Ascending draws from unexpected sources such as reggaetón and jungle (“Master’s Story”). There are some familiar guests to The Body fans, namely vocalist Chrissy Wolpert (Assembly of Light Choir) and Ben Eberle (Sandworm), as well as first-time collaborator drummer Brian Chippendale (Lightning Bolt, Black Pus). Samples, synth, saxophone, and a drum orchestra all throb, and sputter, coagulating under the weight of the two bands. Programmed drum patterns and loops taking cues from hip hop are bent and twisted throughout, flawlessly emboldening the distortion drenched guitars and howling vocals. Each element, though meticulously crafted, is visceral, as the exhilaration of improvisation has not been curtailed by editing.

Ascending a Mountain of Heavy Light casts aside the dogmas of heavy music. Extremity in The Body & Full of Hell’s music is not based on macho musings or competitive trendiness, but rather is an integral tool to exploring the anxieties of modern life and the bridges between personal and political strife. As leading voices in DIY and underground music communities, The Body & Full of Hell, along with peers such as Thou, are expanding the possibilities of extreme music by shaping worlds of sound with a palette of diverse influences seldom seen in “heavy music” today.

Releases on Thrill Jockey on November 17th

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Maybe the people are waiting for trumpets?

Full Of Hell have now shared a new video for the title track Trumpeting Ecstasy, taken from their forthcoming and previously trailed album of the same name (Profound Lore, 5th May). The quartet are widely known for their visceral fury but this track is bespoke in its sinister and jagged haunting nature, amplified by the presence of guest vocalist Nicole Dollanganger. The video is written, shot and edited by Jordan Musheno and Ian Killian, the sample in the audio is provided by Lee Buford, with guest bass by Kurt Ballou, who also recorded the record.

WARNING : FLASHING IMAGES!

A reminder of the forthcoming UK dates

14.07. London – Kamio
15.07. Leeds – Temple Of Boom
16.07. Glasgow – Audio
17.07. Manchester – Soup Kitchen
18.07. Bristol – Exchange

The embryonic beginnings of Full of Hell displayed their palette at its most primitive; intense d-beat blasts punctuating their hardcore punk core, with moments of noise and caustic rhythm. Within a few short years, they have bloomed into a true force to be reckoned with, particularly within the punk and metal communities. Since the release of their Profound Lore Records debut album Full Of Hell & Merzbow late 2014, their third full-length album, the band have truly come into their own, further expanding their repertoire and discography, collaborating on an album with The Body (Neurot Recordings) and releasing several EPs, including their most-recent split 7”EP with Nails (which debuted #2 on the Billboard Top 100 Singles Chart). Their sound evolving further into a frenetic combination of grindcore, death/black metal, punk and hardcore with distinct elements of power electronics and industrial pounding.

Trumpeting Ecstasy was recorded at God City Studios with Kurt Ballou (who also appears on the record). The aural deluge also features guest appearances by Aaron Turner (Sumac/Old Man Gloom/Mamiffer/Isis), Nate Newton (Converge/Old Man Gloom), Andrew Nolan (Column Of Heaven/The Endless Blockade), Lee Buford (The Body) and Canadian singer/songwriter Nicole Dollanganger.

Can’t wait for this to drop it’s ear scouringly excellent……!

Photo credit Reid Haithcock

LINKS

http://www.fullofhell.com
http://www.facebook.com/fullofhell

Full Of Hell share “Deluminate” from Trumpeting Ecstasy

Punishing, virulent, and dynamic beyond expectation, Trumpeting Ecstasy is the new album from Full Of Hell, upcoming via Profound Lore 5th May, as pre-orders go live, the band share the first insight into the album, via the new track ‘Deluminate’. Clocking in just under one minute ‘Deluminate’ is a short sharp blast of rage, showcasing Full Of Hell’s animated, frenetic and unrelenting death metal fury, its over in a flash but, as with much of their music, the atmosphere it conjures and the vocal eruption lingers long after Dylan’s final roar…

 

 The embryonic beginnings of Full of Hell displayed their palette at its most primitive; intense d-beat blasts punctuating their hardcore punk core, with moments of noise and caustic rhythm. Within a few short years, they have bloomed into a true force to be reckoned with, particularly within the punk and metal communities.  Since the release of their Profound Lore Records debut album Full Of Hell & Merzbow late 2014, their third full-length album, the band have truly come into their own, further expanding their repertoire and discography, collaborating on an album with The Body (Neurot Recordings) and releasing several EPs, including their most-recent split 7”EP with Nails (which debuts #2 on the Billboard Top 100 Singles Chart). Their sound evolving further into a frenetic combination of grindcore, death/black metal, punk and hardcore with distinct elements of power electronics and industrial pounding.
 Trumpeting Ecstasy was recorded at God City Studios with Kurt Ballou (who also appears on the record). The aural deluge also features guest appearances by Aaron Turner (Sumac/Old Man Gloom/Mamiffer/Isis), Nate Newton (Converge/Old Man Gloom), Andrew Nolan (Column Of Heaven/The Endless Blockade), Lee Buford (The Body) and Canadian singer/songwriter Nicole Dollanganger.
As previously announced UK Tour Dates are
14.07. London – Kamio
15.07. Leeds – Temple Of Boom
16.07. Glasgow – Audio
17.07. Manchester – Soup Kitchen
18.07. Bristol – Exchange
LINKS

UK Tour Dates for Full of Hell announced

Metal/Punk crossover d-beaters Full of Hell have listed five UK dates for a tour to support the release of their third album “Trumpeting Ecstasy” via Profound Lore on May 5th. Expect podcast plays in the near future

  • Friday, 14 July 2017 – London, Kamio 
  • Saturday, 15 July 2017 – Leeds, Temple Of Boom 
  • Sunday, 16 July 2017 – Glasgow, Audio 
  • Monday, 17 July 2017 – Manchester, Soup Kitchen
  • Tuesday, 18 July 2017 – Bristol, Exchange 

The promo folks say, in a hyperbolic frenzy:

The embryonic beginnings of Full of Hell displayed their palette at its most primitive; intense d-beat blasts punctuating their hardcore punk core, with moments of noise and caustic rhythm. Within a few short years, they have bloomed into a true force to be reckoned with, particularly within the punk and metal communities.  Since the release of their Profound Lore Records debut album Full Of Hell & Merzbow late 2014, their third full-length album, the band have truly come into their own, further expanding their repertoire and discography, collaborating on an album with The Body (Neurot Recordings) and releasing several EPs, including their most-recent split 7”EP with Nails (which debuts #2 on the Billboard Top 100 Singles Chart). Their sound evolving further into a frenetic combination of grindcore, death/black metal, punk and hardcore with distinct elements of power electronics and industrial pounding.
photo credit: Reid Haithcock