��More than most bands within the realm of death industrial and harsh blackened noise, the Philly-based outfit T.O.M.B. are best experienced in a live setting, where they are capable of terrifying an audience with their massive rumbling mausoleum drones and scathing, hellish screams, members of the band cutting their flesh with daggers as pyramids of animal bone teeter on the edge of the stage, the whole performance filling the room with an intensely oppressive, sepulchral atmosphere. But even on their albums, the group seethes with a black energy, fusing the ghastly grave-stench of early Norwegian black metal with the sheet-metal pounding, ritual delirium and crushing low-end electronics of the heaviest death industrial, and their own unique assemblage of field recordings that have been captured from within the bowels of abandoned sanitariums, from between the crumbling monuments of weather-beaten cemeteries, and outside the gates of a roaring crematorium.

��Such are the sources of much of the sounds captured on T.O.M.B.'s latest album Third Wave Holocaust, another killer disc of filthy, rot-encrusted necro-industrial. For more than a decade, this crew of industrial ghouls have been perfecting their particularly putrid fusion of mausoleum ambience and Neubeauten-esque clank, and the ten tracks on the band's latest continues in the suffocating black-mass vibe of their previous works (including their reissue of UAG that came out on Crucial Blast a few years ago). Tracks like "Electric Exorcism" unleash roaring subterranean winds and crushing rumbling noise, the sound drenched in reverb, black waves of rumbling mechanical chaos churning in the depths, sweeping like black fire across the duration of the track. There are more subdued death-rites that emerge on "The Great Venerat Insult", where the band drapes filthy electronics and bone-rattling bass across sparse, booming percussion and gusts of ghostly groaning, while the unintelligible chanting of "Na La Gore Na" becomes consumed in a maelstrom of ashen distortion and choking black static. The pulsating black power electronics of "Vulgarity" suggests an alternate world where Genocide Organ fell under the thrall of Satanic delirium, the track formed from huge waves of monstrous grinding bass and screeching metallic noise that churns in the bowels of the earth. "Disrupting Admin" crawls on malformed limbs, crushing ultra-distorted sludge riffs oozing through gusts of hellish noise and echoing moans, a kind of super-heavy abstract blackened sludge that shifts like black tar and fades into the black earth. Pounding tribal rhythms take shape on "Vom Voodoo", deep pounding skins reverberating through vast underground corridors and steaming black chasms in the earth, that deep rhythmic pounding echoing across a din of hellish screaming, the sounds of suffering on a grand scale buried beneath a mountain of murk and mesmeric percussive pummel. The grinding machine-drones and fearsome Kali Yuga chant of the title track slowly evolves into a punishing glacial doomdirge for one of the album's heaviest moments, and "Clairvoyant Frequencies" is pure harsh noise wall, a raging maelstrom of low-end rumble and distortion that utterly blots out the sun. When this savagery finally comes to a close, it's with the macabre black ambience of "Tribute To Hanhua", another pitch-black hymn formed from androgynous liturgical chorales, vast rhythmic rumbles of orchestral power and sheet-metal abrasion, the sound flecked with bits of glitch and whir.

�� Comes in digipack packaging.