Back catalogue: Industrial/Noise

Review: Taking both acts on their core traits, Full Of Hell primarily deal in death-grind fusion with some blackened aspects and a powerviolence twist, with their tracks rarely crossing the two-minute threshold and their average album length clocking in at approximately 20 minutes and some change. Primitive Man on the other hand, are the type of abyss dwellers that deal in lengthy sonic dirges, often running for well over an hour at a time. What happens when you combine two unmatched forces of modern extremity into one nightmare-fuelled hellscape of sonic torture? You get a truly oppressive display of grinding, trudging sludge-soaked doom with walls of caustic harsh noise which drone on for lengthy uncomfortable sections. Ugly, slow, unwelcoming and vile, 'Suffocating Hallucination' does its utmost to earn its nihilistic title, and offers little in the way of hope on its successful pilgrimage into the abyss.

Review: Powell's work has been described as 'jerky electro' by some critics, which isn't to suggest he's a jerk. Instead, it's because things often sound, and feel, unpredictable. Rhythmic patterns aren't quite what they seem, if they even really exist, time signatures can jump around without warning and production rules are, generally, given short thrift. Nevertheless, his work is always pleasing to hear.

Flash Across The Intervals takes that mantra and reduces it to the bare minimum, and yet there's nothing restful about the tracks. In fact, as the staccato distortions and whirs of the opener shows, there's actually a lot happening. 'Performance To A Harsh Critic' is perhaps the most track-y track, in terms of construct, but even this is really about experimenting with textures of noise, with highly sensory results.