American grindcore outfit Full of Hell will release their brand new full-length "Coagulated Bliss" on 26th April via Closed Casket Activities - and today they up the ante by revealing another devastating single, 'Gasping Dust'.
The track's viciousness might scan as misanthropy - "humanity to blame," vocalist Dylan Walker concludes after running through the ways the earth is "riddled with sores" - but it comes from a place of disappointment that’s driven by a deep love for people and life and the world.
The track features a guest vocal appearance by Ross Dolan of Immolation, who comments: "It was a huge honor to contribute some vocals to the new Full of Hell song 'Gasping Dust'. When Dylan and the gang reached out to me for this, I was so psyched to participate and be part of their new album since I am a huge fan and consider them one of the younger bands leading the way to bring extreme music to the next generation of fans of this genre. Immolation have been close friends and huge fans of Full of Hell since we first met and toured together in 2017, so needless to say I jumped at the opportunity to participate. The song is a short burst of controlled chaos and fury with lyrics that are dark and very relevant. I love the song and can't wait for the rest of the world to hear it!"
Watch the video below:
Stream here.
Pre-orders for "Coagulated Bliss" are available here.
Full of Hell burst forth with incredible force from the small, dagger-shaped city of Ocean City, Maryland, 15 years ago. Over five full-lengths, five collaborative full-lengths, and countless splits, EPs, singles, and noise compilations, they’ve evolved at extraordinary speed, their music becoming more complicated and technical without ever slowing down or losing its soul. Everything on a Full of Hell album feels like a blur: smears of guitar, harsh noise shaken like gravel in a bag, singer Dylan Walker’s snarl and bite carrying him into outer space or into the core of the earth. They’re coiled, interlocking, impossible to penetrate, and they move with alarming speed.
They have now reached terminal velocity. Having created their own context, they’re now able to walk around within it, to survey its terrain, to visit far corners and see who’s nearby. Their forthcoming album, Coagulated Bliss, sounds like Full of Hell, but it’s nothing like any Full of Hell record that’s come before it. These songs are trimmer, less freighted with anxiety, more interested in opening up than speeding away. Its bile is sometimes funnelled into traditional song structures. It never shies away from the extreme harsh noise, unrelenting spirit, and pitch-black sadness of previous Full of Hell records; if anything, the leanness of these songs makes them feel even heavier. Nevertheless, there are tracks here you might find yourself whistling hours after listening. It’s an extraordinary and unexpected evolution in sound for a band who made their name on rapid metamorphosis, and it’s the logical endpoint of everything Full of Hell has covered so far. “I wanted to try to take every aspect of what we’ve done from previous releases and integrate it into this one,” guitarist Spencer Hazard says.
These songs feel huge, totemic, groundshaking. Take the album's first single, 'Doors to Mental Agony'— which premieres today alongside a music video directed by Erich Richter— which sets up a circle pit, then blasts it apart with a grindcore chorus, and slides away on a slanted riff.
Coagulated Bliss was written and recorded shortly after Full of Hell completed When No Birds Sang, their collaborative album with Nothing. Working with the Philadelphia shoegazers gave Full of Hell new insight into the emotional and artistic power of classic pop songwriting, and to the importance of following a song where it wants to go. “That was a good experience of learning how to find what actually services a song,” Hazard says. “Even with Roots of Earth Are Consuming My Home, even when we’ve had an extreme grindcore influence, I still wanted it to be catchy.” Walker also cites the band’s work with The Body for helping him to “recognize that there was value in pop music.” Accordingly, Coagulated Bliss features some of Full of Hell’s strongest songwriting: Gone is the frenetic flailing of Garden of Burning Apparitions and Weeping Choir; in its stead is a richer, thicker sound, one that’s considerably less ornamented—and somehow heavier than ever.
While the focus on songwriting already makes Coagulated Bliss the most grounded album in Full of Hell’s catalogue, it’s also the first Full of Hell record that tries in earnest to reflect the world around it—not in some broad, monotony-of-evil way, but the everyday horrors of life in small town America. Three of the four members of the band were raised in Ocean City. Hazard and Bland still live there, while Walker is located in central Pennsylvania and bassist Samuel DiGristine relocated to Philadelphia. “The American dream is small towns,” Hazard says. “But anyone that’s grown up in a small town realizes it’s just as f*cked up in a small town as it is in a big city—if not more, because it’s more condensed.”
Walker’s lyrics have always framed their suffering with what he calls “fantastical, metaphorical sh*t,” but on Coagulated Bliss his writing is clear and direct. The album’s title is meant partly to reflect the idea of the over-pursuit of happiness leading to misery—whether in addiction, greed, or anything else. “Your happiness is just out of reach and you don’t know why,” he says. “Too much of this bliss, you think you’ve found your endpoint, but it’s really just this small, tiny, little thing that’s going to ruin your f*cking life. And that could be anything." The album’s viciousness and Walker’s clear reading of the world around him might scan as misanthropy, but it comes from a place of disappointment that’s driven by a deep love for people and life and the world. “There’s not a lot of anger, to be honest,” he says. “I’ve never felt anger when we’re playing, ever. It feels like electricity that’s built up in my body that has to get out. But I feel more profoundly sorrowful than I ever do anger.”
The world may be in a constant state of bitter flux, but Full of Hell have never sounded more at home in it. “We’ve shed any kind of ‘do we belong in this space, what do people expect of us,’” Walker says. “The joy is in the pursuit.” The loosening of their grip on the direction of their music has made it feel paradoxically closer to the bone. “People tend to burrow themselves so deeply into things they love,” Walker says. “It’s too much of a good thing, and it almost cheapens it.” By paring back their sound, Full of Hell aren’t just finding a new way forward: They’re proving that a little bit less of a good thing can add up to so much more.
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