[Reviewed by Iaha Crax]
No a priori conceptions about this record. Previous releases were hateful black noise rituals, physical burdens for the hearing apparatus. Jack Gannon, the designer of this project, did participate on a now nostalgic black metal record, “The Senectuous Entrance” by Deteriorate, and afterwards he proceeded with his researches in the field of experimental harsh music with the intention of materializing an act of total occultist, mechanical blasphemy (TOMB). Agonizing testimonials of a blasphemer’s mind…This is how this album – released on Black Plagve in 2013 – begins; with “Antagonizing The Unknown”, that sets the décor to a holocaust of sounds: in its primal meaning, that of offering sounds as an oblation through fire for unthinkable chaotic deities. The shredded blasts and materialized noises resound unbearably when colliding with the walls of our minds.
Man-machine symbiosis has been a theme with multilateral analogies, mostly in Japanese films or American dystopian literature. Essentially, the conflict arises from one taking possession over the other, machine over man and vice versa . But which one of them is the possessed one here? While this remains a debatable question, happily enough, we know how the exorcism able to deliver one from the other sounds: “Electric Exorcism”, a metal junk harsh noise wall of unmatched devilry.
Imagination can picture a distant smoky vision of the artist as self-imprisoned in a rusty metal cell, containing nothing but a steel mirror on which he smashes his head, while scratching it with his shredded nails for the sole reason of the insult of being: “The Great Venerat Insult”. A track sustained only by rumbling, slightly perceptive noises abused by heavy, distinct percussions. The rest is silence and madness.
Our mind being emptied and thus prepared, the special place for invocation is now ready: “Na La Gore Na” articulates a ritual text for which the accompanying music – different from the sacral instrumentation of Halo Manash – is rendered by the use of massive noise waves. It’s like you are simultaneously passing crossroads between Endvra’s “Leviathan” and some Vomir unmistakable textures. Sacrum is soon to be forgotten as we are brutally repositioned into the profane with a track accurately named “Vulgarity”. You can hear linear, raw PE, very rarely interrupted by soulless undirected shrieks. This noisician likes to sadistically play on bulks of noise textures, throwing slabs of surgically shaped material back into our ears, after it has been regularly cut. He has the finesse of Steel Hook Prostheses and the misanthropic attitude of Grunt, traits of the art relevant on “Disrupting Admin”.
In this field of actionist music it’s difficult to say whether track titles are intentional or just bluffing blended with irony. In some cases, it is a matter of spontaneous invention, an endeavor to define a personal area impossible to penetrate from the outside. It could be the case with “Vom Voodoo”, a tune that goes beyond its musical frontiers to take in possession a musical vision and practice of chaos magic. The sounding performance built primarily on circular electronics gains the accents of a trance-inducing body movement with the power to conjure dormant forces from within.
This third record represents the third musical expression for TOMB after “Sacrilegium” in 2005 and “UAG” in 2010, the rest of the project’s discography being comprised of demos or splits. The same-titled “Third Wave Holocaust” track has some affinities with some MZ412 tracks re-recorded several times by the use of tapes. The sound is coarse, iron pounds on steel floor, illustrating a genuine picture of industrialized pseudo-spirituality that needs to be purged by the holocaust ceremony.
In those meditative musical nightshifts, some of us surely have felt the – delusional or not – extra-sensory force of harsh noise effects. Extreme sonorities have the power to block the mind’s fluctuations and thus render the psyche clear of turbulences. We could faultlessly name these sound forces “Clairvoyant Frequencies” and experience this particular state of mind with this track played at detonation volume. Changing register, “Tribute To Hanhua” finds religious female chants on the same plateau with death industrial asexual epitaphs. This kind of impossible conjunction between two opposing sound regnum seems to be seeking a symbiosis inside the true harmony of silence.
The third wave of TOMB’s holocaustic macabre visions has reached here a scale of noise royale. The horrors inside and around us, everything he had been dreaming of, has now become clearer.