“Little over a year later, Tomb Mold have returned with a third death metal opus, and things have changed. Planetary Clairvoyance is drastically evolved. Now in our midst is a star-spawned abomination, multi-formed and voracious. If the preceding records were a baring of teeth, then this collection is surely the war-turn for this dread conqueror worm.” Olde mold is bold.
“To most people, the word ‘carnation’ refers to a frilly colored flower. Belgium’s Carnation aren’t most people. In fact, if the music on this death metal quintet’s debut is any indication, to them a ‘carnation’ is a 14-foot Venus flytrap-esque monstrosity with teeth like steak knives and vines that could crush your puny little ribcage like a bag of potato chips.” Morbid flora.
“Life can often be confusing, gross and unnecessarily sticky. Three words one might use to describe Canada’s Tomb Mold, who, after tearing classic death metal asunder with 2017’s debut, Primordial Malignity, have since returned with an expanded line-up and another installation of their corporal jigsore quandry. Manor of Infinite Forms arrives rancid, raucous and ready to rot.” Rotting in the free world.
“I will award no prizes for guessing what kind of music Abythic play. A name like that is tell-tale enough, and releasing their debut on Sweden’s Blood Harvest, a label perhaps best-known for their work with bands like Impetuous Ritual, Triumvir Foul, and Tomb Mold, doubles down on any preconceptions you might have. The order of the day is doomy, dirty death metal, an ever-welcome houseguest at the home of Kronos. Keep your coat on and track mud all over the place, I don’t give a shit so long as you brought riffs to the potluck and are prepared to serve them. Judgment comes after the meal.” Filth buffet.
“Formed by Max Klebanoff and Derrick Vella, this two-man project is steeped in the gutter filth of Autopsy and Disma, but also pays grisly homage to the worst angels of Swe-death and Finn-death.” Don the hazmat suit and prepare to get sticky.
