Dank, cavernous, maddening, like staring into the gaping maw of an endless void. Tomb Mold have crafted another masterpiece of OSDM that simply must be heard. Between this and Blood Incantation, 2019 was an insane year for death metal. Crippling intensity.
Favorite track: Heat Death.
Tomb Mold is a fine purveyor of death metal. Hell, these guys helped me come back around to my early love of the genre. This isn't a cookie cutter album--its ferocious, time-bending, and masterful.
Favorite track: Infinite Resurrection.
Gurgling, dirty and pummeling piece of Death Metal. Really enjoyable and a tight package, hardly overstaying its welcome. Accelerative Phenomanae is one of the best Death Metal tracks I've listened to in a longer period of time.
Favorite track: Accelerative Phenomenae.
Recklessly devouring the world into a vortex of alternate dimensional planes with ‘Manor Of Infinite Forms’, Tomb Mold has crashed through boundaries with the impact of an ocean sized asteroid. Somewhere between outer space, inner space and the unseen dark matter in between all space they’ve devised an alchemical formula both crushingly oppressive and rapidly expanding outward in every direction.
Waking from stasis for the third time in three years, new record ‘Planetary Clairvoyance’ is the sum total of knowledge gained and aeons absorbed, concentrated into a single massive tome of arcane wisdom and implausible physics. Like the album’s cover art, it exists in a domain of alien anatomical abnormality, malign flora and cold void desolation, warping and deforming the familiar into unknown obscurity.
Tracked in Canada and then mixed and mastered by Arthur Rizk once again, the amalgamation of the huge sound of ‘Manor Of Infinite Forms’ and the gritty particle chaos of ‘Primordial Malignity’ come into boundless unity on ‘Planetary Clairvoyance’. With the explosive weight of a collapsing black hole Tomb Mold accelerate unhinged toward infinite resurrection.
released July 19, 2019
Recorded by Sean Pearson. Mixed & Mastered by Arthur Rizk. Cover painting by Jesse Jacobi with additional art by Lucas Korte.