Full of Hell- "Rudiments of Mutilation" (A389 Recordings, 2013)

Full of Hell (fantastic name, fantastic Entombed song) is a Maryland via Pennsylvania quartet who have released their latest record "Rudiments of Mutilation" on A389 Recordings, a label whose reputation is only getting better thanks to stellar releases such as this. If you search for images of Full of Hell you're bound to stumble upon a picture of the band featuring various "heads" of underground music images that include Fenriz from Darkthrone, the "Goat Head" of the infamous Cursed, and the Man is the Bastard Skull to name a few. While this image may appear to be a tongue in cheek goof, it in many ways perfectly depicts the bands rather diverse sound that "Rudiments..." best captures. Misanthropic, harsh grind / powerviolence melds with dark and brooding hardcore punk before cold and heavy sludge crushes down on the listener. Tracks such as "Indigence and Guilt" (featuring guest vocals by Chris from the aforementioned Cursed) travel smoothly from each sound in one 1:52 burst without awkward transitions or uncomfortable adjustments. These transitions are only possible via the technically sound rhythm section that cleverly employs distorted bass tones and an eclectic array of drum beats reminiscent of Brutal Truth, particularly on "Coven of the Larynx" which combines precision blasting with interesting grooves that truly gives the track a certain character that sets it apart on the record. Known lovers of the Orange Rockerverb 100, Full of Hell don't mess around when it's time to get heavy either folks. Some of these breaks give any band a run for their money and are well placed on the record, particularly on the album's title track that midway through delves into some of the darkest, heaviest sludge / drone I've heard in a while. Perhaps the most unique aspect of Full of Hell's music (and the thing that truly sets them apart from other bands) is their interesting use of electronics. "Bone Coral and Brine," my personal favorite track on the new album, contains a harsh synth passage that leads perfectly into heavy feedback before the song's grinding finale. Full of Hell's new record is great because I can hear so many of my own favorite bands in the musical grab bag that I want to keep listening to hear more of what I love, which only good records and bands can do. While I love the faster and more punk inspired tracks on the record, I have to say that Full of Hell is at its best when their sound highlights what makes them unique, particularly their incorporation of sludge, drone, and power electronics. I personally hope that the band continues to expand upon this and put those elements at the forefront of their future releases. For now, this record is the band's shining moment. Enjoy!

9 / 10

- Joe