New T.O.M.B. Video and Album Retrospective

Here is a new T.O.M.B. lyric-video. Their latest album, Fury Nocturnus, is out now on Peaceville. Below are some of the past T.O.M.B. recordings. US Black Noise. Summon apparitions of Unrest once more!

Tomb Noone sitting

Total Occultic Mechanical Blasphemy III is our latest release with T.O.M.B., from October 2014. This digital-only collection includes a fully remixed and remastered Macabre Noize Royale (an album we first released on CD in 2008), Nameless Spells and Incantations (an album originally released in 2013) and a live recording of T.O.M.B.’s set opening for WATAIN in 2014.

tomb-live-noone

We released the first T.O.M.B. album, Sacrilegium, on cassette in 2005. It’s also available in digital formats:

The original version of Macabre Noize Royale is available in digital formats (CD long sold out):

UAG (Undercovered Ancient Gateways) was the album that followed Macabre Noize Royale in 2010:

Third Wave Holocaust was released in 2013:

You can hear some of the earliest T.O.M.B. material below. The first part is the Black Crypt Worship demo followed by Sacrilegium and other rare tracks:

tomb-ritual

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T.O.M.B., Revenge, Mayhem, Watain – Live this Thursday, January 8 – Philadelphia (2015 Tour)

Black Metal Warfare Tour 2015
MAYHEM, WATAIN, REVENGE

T.O.M.B. will be opening in Philadelphia — the first date of the North American tour!

tomb-ny-2014-17

T.O.M.B. opened for WATAIN last year, this ritual was released as part of Total Occultic Mechanical Blasphemy III (listen: spotify, itunes, bandcamp)

Union Transfer
1026 Spring Garden St.
Philadelphia, PA 19123

Event page

Tickets

tomb-ny-2014-16

Dreadlords Reveal New Video and Full Album Stream

scroll down for full album stream

It must-a be that old evil spirit,
so deep down in the ground

Featuring current members of T.O.M.B. (No One), Panther Modern and Skulsyr (Samantha Viola), DREADLORDS bring a new ritualistic take on American roots music. Unholy swampy raw-blues. Cult Nation called it “a modern update on age-old delta blues tropes and apocalyptic gospel instilled with the fervor and mangy menace of heavy metal”.

The direction is a dark, back woods/swamp, occult-fueled folk style, inspirited by Southern American Baptists beliefs and religious traditions. Instead of forcing demons away, the music poses a “reverse exorcism” drawing in demonic forces and malevolent energies. Along with folk, we are very influenced by Delta Blues and early, extreme Norwegian Black Metal.
– No One, 2014

DREADLORDS release Death Angel on December 8th.

dreadlords-band

The three DREADLORDS members can also be heard on T.O.M.B. III performing live earlier this year.

To be released on Not Just Religious Music, 8 December 2014.

The history of American guitar music is tied to the history of the devil. In the South, it used to be customary to assume that if you played blues on guitar, then you had sold your soul to the devil. The origin of such a myth is hard to determine. It could be coming to us from voodoo dances in Louisiana or haunting ring shout rituals on plantations, but most likely it comes from the fame of one Robert Johnson. Legend has it he sold his soul to the devil at the crossroads in order to learn how to play guitar. He even died young. But he truth of the matter is that he learned to play guitar at night in cemeteries with a friend. He intentionally cultivated a dark persona using pact with the devil myths that other blues artists in his area were already spreading. And it worked. His story lived on to inspire and obsess people like Eric Clapton, The Rolling Stones, and many others. One could go so far as to say that there would be no metal without him. Anyway, the history lesson ends here.
The point is that there is something demonic about the music of the blues and this is something that Dreadlords wishes to explore. All of the songs were written and practiced in graveyards at night. All of the songs have lyrics about murder and insanity. All of the songs were made by individuals involved in or related to the practice of magic. All of the songs were recorded using a banjo with a pickup. All of the songs feature elements against popular culture by using black metal and noise. All of the songs were conceived during periods of extreme personal turmoil, existential angst, and sadness, i.e., the blues.

tomb-dreadlords-video

NoCleanSinging Feature T.O.M.B. III in Samhain Harvest

Total Occultic Mechanical Blasphemy III is featured as part of NoCleanSinging’s Samhain Harvest.

The live recording, which is the final track on this new comp, is especially Samhain-appropriate. It takes little effort to imagine that you have crossed over into another realm, one populated by poltergeists and by more corporeal entities engaged in incomprehensible but fearsome industrial activities. The atmosphere of the performance is both spectral and disturbingly physical – and fascinating.

Bandcamp | iTunes

Daily Noise: Skulsyr – Kvilla (T.O.M.B. Member Side Project)

Related: T.O.M.B. III: Digital Collection (Macabre Noize Royale, Nameless Spells and Incantations, Live Ritual 2014)

Our release of the digital edition of T.O.M.B. III included some of the most recent T.O.M.B. recordings and features current T.O.M.B. associates. A select few collaborators who join No One in recordings and live rituals – including the June 2014 ritual included on T.O.M.B. III.

SKULSYR is a side project of T.O.M.B. and Dreadlords member Skera. Dark and sinister noise. Droning distortions, drifting ghostly patterns and disguised voices. This track in particular has similarities with T.O.M.B.’s abrasive, industrial noise.

One of two recording currently made public, both released last week.

Out Now: T.O.M.B. III: Digital Collection (Macabre Noize Royale, Nameless Spells and Incantations, Live Ritual 2014)

United by Blakk Blood!!
T.O.M.B. returns to Todestrieb Records with a new digital collection
The resurrection of Macabre Noize Royale

cover

 

Total Occultic Mechanical Blasphemy III
Macabre Noize Royale (2008)
Nameless Spells and Incantations (2013)
Live Ritual – Brooklyn, June 15 2014

Full tracklist, images and video at the distro

Six years after our last T.O.M.B. release – Macabre Noize Royale – we present a digital collection of three separate creations. All newly studio remixed and remastered.

Earlier this year we began talking to NO ONE about a digital edition of the long unavailable Macabre Noize Royale – the black noise/black metal assault we released in 2008. A unique recording in T.O.M.B.’s history!
T.O.M.B.’s distinct field-recorded ambience, twisted industrial manipulations joined by members of the Pennsylvanian 80’s death/black underground (DETERIORATE, GOREAPHOBIA, HAZARAX). Only an album like Burning the Temple of God rivals the savage collision of raw noise and black metal on MNR!

Macabre Noize Royale will be a journey. It will combine unholy black metal with extreme nihilistic black noise.
This black noise is what many call my work.

With this digital release we intend to force a rediscovery and reappraisal of this powerful work, which is resurrected with punishing force after a lengthy remastering. We recommend headphones!!

The reissue began to expand with extra tracks until we decided to create the third T.O.M.B. collection. Total Occultic Mechanical Blasphemy III includes MNR, Nameless Spells and Incantations (2013), and a 2014 live recording.

Nameless Spells and Incantation was released by DumpsterScore Home Recordings on limited cd in 2013: Obsidian black drones and vocal chants lay the foundation for thick crushing walls of unrelenting harsh noise, primitive steel gate pounding and quite literal tombstone grinding. Listening to these recordings you get the feeling of being alone late at night, hooded figures loom in the shadows of a reverb drenched corridor. Distant pounding and indistinguishable voices draw closer and closer until a blinding surge of electricity fills the room and your bones are ground to dust.

The final part of this collection captures T.O.M.B. live. This ritual took place in Brooklyn, New York on June 15th as part of an evening headlined by WATAIN. The T.O.M.B. lineup was NO ONE, Panther Modern, Joseph Curwen (GHORAGEIST) and Samantha Viola (SKULSYR).
T.O.M.B. live is not ‘performance’ or a typical show. Through stone, metal, bone and blood they channel pure unholy energy and have a dramatic, physical effect on those in attendance:

…the guitarist began scraping an animal horn across a what looked like slab of slate amplified through a guitar pickup and subsequent PA system. The overwhelming but intriguing sounds caused several in the audience to buckle while others straight up blacked out. – 2012 w/ Sunn O)))

A video was captured of the June 2014 evening. The visuals, combined with our new audio recording – taken directly from the source, removing all extraneous sound and professionally remixed – recreates this powerful effect!!

Over the past year of remixing and remastering, this project has grown into an essential T.O.M.B. collection and presents NO ONE’s vision across different eras and settings.
T.O.M.B. has expanded it’s sound, experimented, explored sinister and dangerous new paths. Through it all the original manifesto has remained, since we first discovered the mysterious entity NO ONE in 2003 and the bond was formed. Still a unique force in underground art!

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.

Future T.O.M.B. —

I wrote my material based upon three fazes. My more industrial black metal/noise was the first faze. I used what abilities and resources I had during that creative time period. This was the beginning and birth of the project. Once I began the second faze, I had developed several new types of recording techniques and tactics. I also expanded on my equipment arsenal. Combined I wanted to create audio that when played together,effected the senses. Mind, body and soul. So we started conducting ritual practices of invocation, using instruments and objects associated with primitive ritual, and record this inside abandon hospitals or asylums were negative malevolent energy can be easily conjured. Conjuring was the second faze. Fury Nocturous marks the third faze of the project and exposes the results from the past fazes, cryptic occult audio experimentation and extreme black magic.

T.O.M.B. Headline Last Day of Milwaukee Noise Fest

T.O.M.B. will headlining this Saturday – September 27th.

The Milwaukee Record in their guide say:

I am personally most excited to see [Saturday’s headliner] T.O.M.B.,” Linski says, “whose dark sounds are a mix of death/dark ambient and harsh noise packaged in black metal aesthetic. There’s an infamous tale of the group’s leader, No One, traveling to Norway to record tracks with Hellhammer of Mayhem, which partially resulted in field recordings of Euronymous’ tombstone. I luckily had the chance to see them at last year’s Summer Scum, a noise fest that takes place in Buffalo, New York, and to say the least it was incredible.

Full details, for any changes and updates go here.

MNF 2014
September 25th – 27th, 2014
The Borg Ward
823 W. National

One Day Tickets: $10
Three Day Tickets: $21

Thursday, September 25th
7:00 – 7:15 Irrelevant Mouth
7:25 – 7:40 Citizen 2-13
8:50 – 8:05 The Bringer Of Everything
8:15 – 8:30 Spiteful Womb
8:40 – 8:55 Invertabit
9:05 – 9:20 Indian Burial Ground
9:30 – 9:40 Licention
9:50 – 10:05 Dead Weight
10:15 – 10:30 Violator X

Friday, September 26th
7:00 – 7:15 Fake Blood Universe
7:20 – 7:35 Stress Orphan
7:40 – 7:55 Temper
8:10 – 8:25 Apollo Vermouth
8:30 – 8:45 Oxygen Starvation
8:50 – 9:05 Jim Schoenecker
9:25 – 9:40 Swollen Organs
9:45 – 10:00 Plague Mother
10:05 – 10:20 Scant
10:35 – 10:50 Nummy
10:55 – 11:10 Plack Blague
11:15 – 11:30 Magia Nuda

Saturday, September 27th
7:00 – 7:15 M. Jurek
7:20 – 7:35 Clavicula Salominis
7:40 – 7:55 Mildew
8:05 – 8:20 Ground Out
8:25 – 8:40 Reptile Worship
8:45 – 9:00 Nicole 21
9:10 – 9:25 Neil Jendon
9:30 – 9:45 Climax Denial
9:50 – 10:05 Shredded Nerve
10:15 – 10:30 $ecret $et
10:40 – 10:55 Custodian
11:00 – 11:15 Prostate
11:25 – 11:40 Phoned Nil Trio
11:45 – 12:00 Deterge
12:05 – 12:30 T.O.M.B.

T.O.M.B. / Dreadlords Interview with Terrorizer Magazine

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.