Full of Hell can with Suffocating Hallucination also finally a collaboration with Primitive Man check off on their amical co-op bingo. Hopefully by the way only the first partner exercise of still further following ones.
What is interesting is the fact that Dylan Walker and Co., in contrast to the collaboration records with et al Merzbow and The Body this time take a step back and don’t assume the central role, but Full of Hell to a certain extent act as a kind of development worker in a team to adapt the stylistic conventions of Primitive Man through Suffocating Hallucination to think further on a broader basis. For an album that at first feels like a half-baked scouring and convincing concessions to the greatest common denominator, before the rock-solid chemistry of the two parties unfolds its synergy and finds its center, the potentiating strengths beyond Ethan Lee McCarthy’s Jonathan and Joe territory Point out linden trees without already exhausting them completely.
Conversely, it should mean: Suffocating Hallucination initially seems like a warm-up for long stretches – but on the one hand as such, the path of which should appeal to supporters of both groups involved practically without beginning; and on the other hand also designed in such a way that it takes along with a really satisfying evolutionary consciousness in the organic process. Equality is not a mandatory goal.
Trepanation for Future Joys begins under the formative dominance of Primitive Man How Sumac, meanders in the heavy, scraping feedback, grits and snarls and roars as a double of the vocal cord beasts in the viscous lava flow, especially since the riffs exemplarily at most break down and texture as acid-eaten lumps, grind and fry and hiss and squeak. The rhythms of the drums communicate heavily intertwined Melvins-Power, infected by a few electronic viruses between the lines, before the ritualistic trance opener bleeds a shamanic, hypnotic stoicism into feedbacks where Full of Hell as a feature on a Primitive Man– Platte along the expectations would have loosened the spectrum.
Rubble Home takes a dark blues-country motif a la lively as a framework Earth, later rolls in all patience, grooving, and then bullies with nervously hyperventilating ticking offshoots of the sludgy of hell attacks, where McCarthy and company feel comfortable enough to expand their comfort zone. The filthy Deathgrind inferno Bludgeon is then compositionally seen as a fairly run-of-the-mill discharge, a little inspired compromise – but at least very effectively blowing the beet free for almost 25 seconds.
After that grows Suffocating Hallucination namely over the doomy horizons of nihilistic nightmares Immersion (2020) and Insurmountable (2022) out. Dwindling Will is a Dark Ambient soundtrack regarding subtle but rich atmospheric areas of carved abysses, whose loneliness offers a pleasant feeling of security. Unobtrusive and articulated with a clear hand.
Tunnels to God seamlessly picks up the thread there, but showing it more optimistically and, yes, actually more beautifully shimmering, distilling the mad flow. Primitive Man let yourself be tempted like one Swans-doing a seance, creating a cinematographic drama, contemplatively undulating with a beguiling howling guitar motif to close the circle, up to the cacophony – but actually opening Pandora’s box and sketching all the possible potential: Full of Hell bring sustainability and balance to the sound, above all, by breaking the otherwise only varying degrees of severity and extremes of punishment from morass Primitive Man add an almost slightly uplifting, melodic and forgiving component. In this respect, it may well be that the team will only really reap the rewards of their approach on a hopefully forthcoming follow-up work – not only the final 18 minutes of this cooperation let you live damn well with it.
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