During their recent performances opening for Converge in London it was obvious that both Full of Hell and The Body shared a passion for noise and volume. Henceforth, it’s not surprising that this album starts with a massive blast that lasts for something like thirty seconds. However, doing what is expected of them is not a rule to which both bands abide and this album proves it quite well.
Starting with the titular track and followed by Fleshworks where delayed female vocals mixed with the screams of the two vocalists creates the kind of soundtrack that plays during dreams directed by David Lynch, the album goes to every extreme possible. The presence of both drummers can be felt particularly during this song to create an uncomfortable atmosphere where one drummer plays slightly behind the beat instead of both playing in synch. The lack of symbiosis goes perfectly with the mix of vocals and add to the unsettling atmosphere, making this song one of the best of the album.
The following cover of Leonard Cover‘s The butcher mixes a drone and drum loop as a background for the scathing vocals, giving us an impression of what a Death Grips‘ remix of SunnO))) would sound like. Because of this constant research for contrast, One day you will ache… bears some resemblance with David Lynch‘s Inland empire, a film where the director plays with the spectator’s nerve by switching from haunting lightness to brutal darkness without any warning.
Side B starts again with more blast but played even more aggressively on World of hope and no pain, followed by a wall of noise in the style of Japanese noisician Merzbow. Here, Full of Hell delves even deeper into the freeform chaos that they touched on their collaboration with the artist thanks to the drone guitar of Chip King from The Body. The specter of Godflesh then comes to haunt the collaboration in the form of a drum machine on Bottled urn but both groups manage to keep the identity of their collaboration intact. Although each song on the album is quite distinct from the other, the overall feeling of dread and the nauseating level of noise meshes the album into an immersive experience similar to a combination of both live shows. The song The little death is a perfect example of this with it’s switch from a full frontal assault to a suffocating slow down where a solo still manages to emerge. Whereas some songs should be difficult to replicate live, this one, in particular, sounds more manageable and could be even called catchy for people who find being bludgeoned by noise pleasant.
The last two songs, Cain and Abel are absent from the LP and should only be available on the CD version. Although they are in continuity with the rest of the album with their industrial sounding drums, noise, and delayed vocals, they feel more like bonus remixes rather than complimentary tracks. With eight songs, the album is coherent enough to exist without these two extra songs.
One Day You Will Ache Like I Ache is a very powerful experience and a complete success by managing to explore new ground for both The Body and Full of Hell. With both bands sharing a taste for collaborating with other musicians, it would not be surprising if a follow-up happens sometimes but I am mostly impatient to hear how this album will affect the sound of the next LP by Full of Hell.