Full Of Hell’s second full-length album for A389 Records, Rudiments Of Mutilation, follows up the band’s extensive output since its first LP, Roots Of Earth Are Consuming My Home, while keeping the band’s signature blend of hardcore, grind, and power electronics fresh.
This record wastes no time getting into the thick of things. The first track, “Dichotomy”, starts with wailing feedback and heavily reverbed vocals over random drum fills, which makes way for the harsh noise Full Of Hell has become infamous for. “Dichotomy” then leads right into a re-recording of “Vessel Deserted”, which made its first appearance on the band’s 2010 split with Goldust. The second take of this song charges forth with even more fury than the original, adding more urgency to the track. In the most sludge-laden portion of the song, vocalist Dylan Walker and bassist Brandon Brown trade syllable for syllable and create an interesting landscape for the breakdown with Walker’s mid-pitch vocals and Brown’s guttural blows.
The song leads right into the third track, “Coven Of The Larynx”, which contains the signature Full Of Hell sound: fast and abrasive, leveling out the amount of fast punk drumming and blast beats from drummer Dave Bland. The track even receives some guest vocals from Heartless vocalist Cory Smith. “Throbbing Lung Fiber” follows soon, clocking in at a little over a minute, as does its predecessor. “Throbbing Lung Fiber” is a minute-long grinding explosion detailing, as Walker describes, a “narrative a family being burned alive”. The music reflects the inhumane detailing of the lyrics, creating an atmosphere where the listener can almost smell the demise of the family within the storyline.
“Indigence And Guilt” follows, serving as the fifth track of Rudiments Of Mutilation. This song offers more classic Full Of Hell, with guitarist Spencer Hazard using some interesting chords in the middle passage. The song also features more guest vocals, this time from Weekend Nachos frontman John Hoffman. The latter half of the songs features stop-and-go drumming from Bland, which stomps through the song quickly, paving the way for the slamming ending. Track six, “Embrace” is the second longest song on the album, clocking in at over three minutes. The song features squealing feedback, tom-heavy drums, and creepy spoken passages by vocalist Walker. “Embrace” almost serves as a cooling off period, given its placement right in the middle of the record and following five tracks of nonstop brutality.
The latter half of the album kicks off with "The Lord Is My Light", a song showcasing some of Walker's more guttural vocal attacks, harkening a black metal vibe. The track sludges along, encompassing a bleak atmosphere. Walker also adds more unsettling talking, sounding almost possessed at times. After drawing back in a lighter dynamic, the band slams back into the song and rides it out, slamming right into the next song, “Bone Coral And Brine”. The song features more blasting drum passages that lead into a sinister slow part with rung out chords. The title track, “Rudiments OfMutilation” follows, another offering of unrelenting blasts of aggression. The song then breaks, making way for slow and churning riffs from Hazard. The track leads right into the final song on the album, “Contempt Of Life”. The song starts off with a drum track that sounds like Full Of Hell is marching right into the heart of war, accompanied by an arsenal of feedback and tense chords that retreat as soon as it barges onto the battlefield. The song comes to an abrupt end with only a swirling noise track that sounds like a swarm of bees. Walker adds some sparse vocals to the end, washed out heavily by reverb to finish off Rudiments Of Mutilation.
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