The Body and Full Of Hell’s new collaboration is a black hole of despair

In “Fleshworks,” Bland and Lee Buford’s primitive tom drumming burrows beneath a profoundly creepy sample of a child saying, “I want to die.” Fast electronic beats pulse over this mudslide of toms, and “Fleshworks” morphs again when static female vocals slither across the aural canvas. The Body and Full Of Hell then obliterate Leonard Cohen’s depressive country song “The Butcher,” turning it into a car compactor of pummeling drone. In his destroyed-throat wails, The Body’s Chip King screams like he’s getting his skin ripped off on a drilling rig.

Corrosive walls of percussion make “Gehorwilt” the sonic equivalent to scratching your eyes out, and the ironically titled fifth track, “World Of Hope And No Pain,” is 40 seconds of pure venom. A cruel experiment in harsh noise, “Himmel Und Hölle” could be used as a torturing mechanism. Throughout, Full Of Hell’s Dylan Walker screams like a black-metal preacher giving a sermon on the end of our species. “Bottled Urn” is a power plant of misanthropy that trudges with the mechanical rigidity of Author & Punisher, and closing track “The Little Death” starts with indifferent grinding before transitioning into a nihilistic march. Over anxiety-inducing snare rolls, Chip King yowls, making the song a beckoning for mass suicide rather than a call to arms.

The Body and Full Of Hell are two of the most prolific bands in extreme music. While other groups that release so much material typically lapse into mediocrity at some point, both of these bands are seemingly inexhaustible wells of brilliance. One Day You Will Ache Like I Ache is a perfect example.