Genre: Death Metal
Country: Canada
Label: 20 Buck Spin
Year: 2018

Lars Urlich, always entertaining and intriguing, in an interview in 1996 christened Oasis the successors in the peak of metal, while in the same sarcastic tone he reminded us that he is not specialized in seeing the next big thing, neither being the first to understand everything of quality around him, he cared about eventually reaching it, even a bit later. Of course I don’t have the same course as the Danish super star, neither his special weight, not even his record collection and thankfully not his height and my job among others in this webzine is to propose some bands to the readers that choose and trust us. The avalanche of releases needs to be cleared out for the readers, even in the form of ‘check this’, or ‘give some of your time to that’ as an advice to a friend. Not necessarily first, but also not last. Tomb Mold have paved the way with 2 sick demos (The Bottomless Perdition and The Moulting, both in 2016, while a year ago a collection that included both was cut) before they release their debut Primordial Malignity in 2017 leaving us in shock with their rawness, the plentiful of their influences, but also the skill to tame them. Now, even with a ‘small’ delay (Lars be our guide) –since the record came out in the summer of 2018- they return in such a short period of time to finish us off completely. Of course they stepped on the formula of the first record, as also on the boost the tour to promote it gave them. But we can easily spot the progress in the compositions and the performance alike, since they are vividly more mature and focused, while the production is more compact and tighter. I could not bypass the incredible drum sound and the relentless playing that combines hitting hard blast beats and d-beat tempos, while the guitars are ripping with their haunted riffs. Even the longer tracks (Blood Mirror and Two Worlds Become One) contain successful rhythm changes and the necessary pauses – breaths and there are potential singles that stand out by being a bit more catchy, or better addictive (Abysswalker and Chamber of Sacred Ootheca). The lyrics are blending perfectly with the nightmarish sound and move in a Lovecraft cosmic horror territory or paranoia, if you prefer. Manor Of Infinite Forms is an exceptional offering from the Canadians that combine the most qualitative elements and characteristics of Florida, New York and Stockholm scenes, while at times they seem to answer to the characterization of being bastard children of Incantation and the Finnish Demilich (younger ones should check Nespithe with its epic titles and rotten aura from 1993).