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It slowly fades away into a gigantic pummel of drums, their presence alone as heavy as anything else on the album.

Yet it transforms within a couple minutes, slowing to a molasses sludge with Dylan Walker trading vocal retch with ConvergeвЂ™s Nate Newton. The latter, meanwhile, begins ostensibly like the albumвЂ™s shorter tracks, all explosive drums and dissonant darkness.

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The former is the closest to Full of HellвЂ™s noisy hellscapes from collaborating with The Body, not coincidentally because that bandвЂ™s Lee Buford provides the trackвЂ™s sheets of grinding distortion, while vocalist Nicole Dollanganger provides an effectively ethereal counterpoint. The final 10 comprise its last two songs, вЂњTrumpeting EcstasyвЂќ and вЂњAt the CauldronвЂ™s Bottom,вЂќ which are not only the albumвЂ™s longest songs, but its most stylistically ambitious as well.

The first 13 minutes of Trumpeting Ecstasy go by quickly and with little in the way of moments of reflection or space. And with вЂњCrawling Back to God,вЂќ Aaron Turner of Isis and Sumac lends his beastly bellow to a brief diversion into death metal dissonance.

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вЂњThe Cosmic VeinвЂќ is the first moment in which Full of Hell actually approaches melodic accessibility, however, with a furious hardcore chorus thatвЂ™s as fun as primal scream exercises can possibly get, as well as a series of finger-tapping triplets that add a bit of guitar heroism to a song that feeds off of pure venom. вЂњDeluminate,вЂќ the leadoff track and first single from the album, is a solid stage-setter for an album this uncompromising, little slices of melody and exhilarating riffs revealing themselves between the pummeling. Trumpeting Ecstasy is as much a showcase for Full of HellвЂ™s strengths in songwriting as it is in their mastery of claustrophobic terror. TheyвЂ™re one that thinks outside of the visceral-aggression box. Grindcore, generally, isnвЂ™t music that lends itself easily to diversity or malleability, but Full of HellвЂ™s a different sort of band. These moments crop up throughout the entirety of Trumpeting EcstasyвЂs 23 minutes, breaking up the relentless white-knuckle endurance test with bits of texture and contrast that add new dimensions to their songwriting. ItвЂ™s sublime in its nuanced menace, by no means as aggressive as what leads up to it, but just as intense.

ThereвЂ™s a moment in вЂњBound Sphinx,вЂќ the third track on their Kurt Ballou-produced new album and Profound Lore debut Trumpeting Ecstasy, where Full of Hell briefly put aside the breakneck riffs and juxtapose their crushing bass breakdown with a wall of static and abrasive electronics. ItвЂ™s what makes them, against all conventions of what most of us perceive grindcore to be, subtle. ItвЂ™s also what makes them far more interesting than the average grindcore or powerviolence act. Feedback and static pervades their sonic world itвЂ™s what makes them natural musical partners for artists such as Merzbow and The Body, with whom theyвЂ™ve released collaborative albums in the last three years. The Maryland/Pennsylvania-based band has self-released a series of harsh noise cassettes titled, naturally, FOH Noise, and even in their more song-driven moments, they derive much of their power from an abrasion that many of their peers donвЂ™t. Full of Hell has as much of a pedigree in noise as they do in metal or hardcore.