Terrorizer Magazine have just posted an excellent interview with No One of T.O.M.B. and Dreadlords! This is one of the only public communications from No One and finally gives a thorough insight behind T.O.M.B., details of recording locations (including Euronymous’ grave), recording (ritual) process, influences… It also covers Dreadlords – a new band formed by No One and two other T.O.M.B. collaborators: Panther Modern and Samantha Viola. Essential read.
I never know what is going to happen before recording at any location. It is a ritualistic approach, focused on resurrecting its tormented history, through site-specific sound structures, rhythmically combined with dark occult interaction and invocations. Once an area or element inside the building/structure has presented itself, I connect with it and allow myself to be suffocated by the ambient, unseen energies and record.
I wanted to create music that the listener could relate to other than a “studio” recording. Many artists write music in a studio about death, decay or the occult. I wanted to take death, decay and the occult and make music from those subjects. So I began using crypt doors as percussion, using tombstones with bones as instruments, and using elements or items in abandoned insane asylums to structure songs. Personally, this was a more authentic, challenging and rewarding way of writing music.
T.O.M.B. has been an experimental/spiritual journey in the development of myself as an artist and a person. The experiences from the disturbed places I have recorded, the influential people I have met and worked with, have stayed with me and are reflected in my material. The name Total Occultic Mechanical Blasphemy, clearly defines this project’s divine intentions; TOTAL freedom and expression through OCCULTIC ritual, beliefs and invocations. This is captured using MECHANICAL recording devices and equipment, with a subconscious intent to open and unleash the diabolical audio effects and essence of pure BLASPHEMY.