On the Impermanence of Being amidst the Celestial Rebirth of Tomb Mold with Derrick Vella (2019) INTERVIEW

Back in September of 2018 I think I’d posted a review of Owl Boy, a bit of a throwback that captured the spirit of an old artform and expanded upon its mechanical complexity and its narrative heart. Derrick Vella, guitarist and head ‘brain in a jar’ of Tomb Mold contacted me not long after he’d played the game. No agenda, no pretense, just to shoot the shit about games. He’d wisely recommended Enter the Gungeon, we both hadn’t touched Red Dead Redemption II and joked about the toxicity of multi-player game Dead by Daylight despite it being a fun and addictive thing.

The conversation picked back up a couple months later in November, after the self-release of Tomb Mold‘s ‘Cerulean Salvation’ demo tape which’d sold out in minutes between I think two issues. We talked a bit about how the songwriting process worked in the band and the general dynamic. As a fan, and I’m sure most listeners would agree with me, Tomb Mold hit that next level in every sense on ‘Manor of Infinite Forms‘ but it piqued my interest when Vella‘d said he felt like he was just hitting his stride in how he’d like to write the material in reference to ‘Cerulean Salvation’. By December the new album was already mostly written and, without intending an interview beyond a private conversation, I’d asked a lot of questions and gotten compelling answers.

Before the new year Vella remarked, as he’d still say today, that Tomb Mold sometimes feels as if they exist on ‘borrowed time’ but in a very ‘zen’ state of mind acknowledging that life in the moment is happiness and that all things have their natural life cycle. This, a remarkably humble state for an artist creating at a new peak of popularity within the death metal underground. They’ve nothing but praise and love for their label 20 Buck Spin, the tours are fantastic and the creative process is not only fulfilling but frickin’ pouring from them. The interview that follows is partially pulled from natural conversation over the last six months, the majority of it not meant to be an interview at all but Vella being kind enough to engage my questions, dodge my rabid fandom, and patient enough to follow several threads of conversation for months at a time. So, jump headfirst into the mind of that “Leonardo DiCaprio lookin’ dude in an Assück shirt” who plays guitar for Tomb Mold! We start with the end of a conversation back in December 2018, with a question and answer that resonated with my own taste and helped to characterize Vella as a music listener.

G.B.: Do you listen to much death metal? I know some folks go lights out on music when they’re writing. When do you feel like an album is done? Like I’d imagine that’d be the biggest anxiety, deciding on the pieces.

D.V.: I find myself usually listening to older death metal 7″s I like, and then a lot of the more early tech stuff (mid-era Death, Cynic, Oppressor, Gorguts) but I don’t listen to too much of it at home. Usually when I’m out and about. Growing up, I was on a quest to consume as much music [as possible]. Hardcore was the gateway after being into skate punk. All of the mid to late 80s NYHC and youth crew shit was my jam because I was straight edge and I loved powerviolence. Then I heard Terrorizer and realized Death Metal was the best. I’ve never been a “metal head”. I like black metal and some other sub-genres fine but death metal is the one I vibe with the hardest. But like I said, I love everything. I listen to Keith Jarrett with most of my free time and Bill Frisell. Lately though I’ve mostly been listening to Yo La Tengo and remembering what it was like to be 20, haha.

I feel like an album is done when I haven’t left anything on the table to an extent. I think this next LP needs one more song. Something not super long, but something just to fill out the B side to go before the closer. It’ll hit me within the next week or so, I’m sure of it.

[By February 2019 I’d gotten excited enough about the prospect of a new Tomb Mold album to see how he’d feel about an interview at some point. Around early April most of the album was locked in, recorded, final mixed and I think the album art was revealed soon after. We chatted about their experience with the massive line-up at the Total Death Over México Vol. 2 festival in March, how nice the guys in Bloodsoaked Necrovoid are and I made a bad Spinal Tap joke involving Spectral Voice sound-checking in the dark. We pick back up with the announcement that Tomb Mold would be touring the east coast of the United States with 20 Buck Spin label-mates Superstition this summer.]

Stoked for the Superstition tour! Do you have fun touring/performing?

Personally, I like touring now because they’re good tours. Not having to worry about losing money takes a load off. Performing is something I really enjoy when the vibe is right. Small packed shows, lots of body heat, lots of energy. I can just go to a place and experience nirvana or euphoria for a limited amount of time, its really nice. The other boys look angry when we play but I don’t think our music is aggressive… and yes, I know how stupid that sounds, but I’m also a spiritual weirdo so for me its very uplifting even though for others its very oppressive. I’m also the recreational drug user of the band so I always look like I’m out to lunch compared to the others hahaha.

Vella @ Total Death Over México Vol. 2 | Photo by Juan Antonio Rodriguez

Yeah you’re a trip to watch, most death metal folks look like they need to poop or fight when they play but, you seem to enjoy the flow of things. I could barely play a 15 min hardcore set without wanting to die back in the day, dunno how you do it. Does being high specifically add to the ritual, is Tomb Mold ‘worship’ music for you in that [or any] sense?

I exercise so I can get through a set without feeling like I want to die. Cardio is so crucial, I don’t know how others do it except barely move. Foam roller on tour is also crucial to fight soreness… As far as drugs go, playing and performing becomes a sort of sacred ritual for me, and whenever I can be high beforehand helps. Getting high at practice is also nice for me. It helps me feel the texture of our music and it adds an extra dimension to what I can hear. Its like, along with everything we are playing I can feel the chaotic nature of it wash over me especially when we are swelling up to a halt or a section that just comes crashing down into a slow dirge. Writing though, I’m usually sober. I’m definitely not on the same level as Cynic circa ‘Focus’ or ‘Traced in Air’ with the level of spirituality [involved] but not due to resistance. I’ve never let that side of me seep too much into writing except for the new record. Some of my lyrics are a reflection of those things. So, people will be like “Planetary Clairvoyance, that song sounds disgusting brooooo” and I can hang with that even though that song is about reaching higher levels of inner peace through change, just disguised by the narrative of a planet with heightened consciousness slowly reforming itself to destroy everyone on the planet since they bring nothing but harm. So like, the first side of the record is pretty much about me going through a toxic breakup hahahaha

[Picture Vella at the laundromat around May 6th when the first single from ‘Planetary Clairvoyance’, “Infinite Resurrection” drops, and trying to keep up with the huge response the new song and album announcement generated. He was kind enough to keep responding that day.]

That is awesome, I mean not so much the breakup but your way of dealing with it and the story that came from it. Kind of Vedic/Buddhist in the parable. Are you pretty much over all of that now? Is religion a factor in that spirituality at all?

I’m over the breakup for sure. It took me about a year to find the strength to do it. 5 1/2 years and most of it wasn’t great. But we get trapped. I knew it wouldn’t be easy, and I did leave, and its been tough because my life has been extremely chaotic this year, but that the trade off is that I ended up with someone better for me after my breakup. I can say goodbye to feeling sad with someone and go through temporary hell to get to a better place. Its all part of the journey I suppose. Not a religious person but I’ve also never pursued it [in] any organized way except knowing about Christianity and Catholicism as a young person but those never appealed to me.

I understand, getting out of a long/bad relationship is like unclogging a toilet with your hand. Have to work up to it, take a deep breath and feel everything gross after. Bad analogy I guess. Long distance can be tough, but sometimes that space is great when you’re focused on school/music etc. Would you ever move to the states?

I think I’m gonna to move to the states. The woman I ended up with after my breakup is who I want to be with and sadly it makes more sense for me to come there. If for some reason it doesn’t work, we’ll work on getting her up here, but we gotta get married first, which is cool with me. Yeah this album feels nice because after so much time spent being told about how much I’m fucking up my life by leaving her (her telling me this obviously) and all of the things wrong with me, its nice to create with others who are feeling the same level of gravity from this as me. It goes back to the whole “How much shit will you take for something good”. We’re constantly bartering with cosmic or karmic forces or at least I feel like I am, haha.

There are only a few metal bands that really become something extra when I’m high, Portal’s last album and the first Obliveon record have that effect. I guess the fear is that music might require intoxication to understand or relate to, whereas I find death metal is consistently intoxicating [on its own] when done right. Like, ‘Manor…’ resonated with me for that reason, it took me outside of wherever I was into its own world. I couldn’t return to LSD or whatever anymore today, but certain music triggers that feeling of projection.

Yeah there is definitely some of that. Manor is “before Derrick started taking hallucinogens” and Planetary is “after” from an overall writing perspective haha. But I mean, half of Tomb Mold is still straight edge and they find something in these songs so luckily drugs aren’t a requirement!

Did you guys have any particular production sound in mind for ‘Planetary Clairvoyance’? There’s this I dunno, Adramelech and Gorguts feeling to “Infinite Resurrection”. Still wrapping my head around the newness of the vibe.

As far as production hmmm, when we finished recording I had no idea what I thought it should sound like, so we gave it to Arthur [Rizk] and told him to run wild. Told him to make it sound like an abandoned spacecraft crawling with xenomorphs. Told him I didn’t want it as clean and big as ‘Manor…’, gave him my reference points for when I was writing the record and then just let him run wild. I love what he came up with.

Rizk is really versatile in that sense, his choices seem to come from a gut feeling, like an instinct that isn’t self-conscious. Not sure if that makes sense. It is more brutal in some ways. Max sounds like, NYDM heavy at times but it all feels a bit more narrative. That first song cut into me though, was only gonna preview it to start but ended up listening to the whole album. I like the way it ends with the instrumental, the theme is well represented. Have you been mostly focused on creative mode lately? Playing any games or into any other music?

Nah that makes sense to me! I feel like our opening tracks on the last couple records are gambles. They aren’t immediately go for the throat, they build up. I love the opener on manor [“Manor of Infinite Forms”], but I really love “Beg For Life”, but that song is also about my breakup (but not in some shitty way), so it also feels like a relief or something. Yeah closing on a song where vocals don’t come in until halfway through is a weird move but it also just makes the most sense to me, especially after the song “Cerulean Salvation”, Its like “Ok, I know it feels like we’ve lulled you into a false sense of end with that song but actually we have a better way to close this out and here it is.” haha. Been playing Sekiro: Shadows Die Twice, I hate it. Listening to lots of Keith Jarrett as per usual, Yo La Tengo (one of my fav bands), Pink Floyd, “Kar Kar” by Boubacar Traore, Malignancy, The Cure, Malignant Altar. Chon and Plini for gross guitar guilty pleasure.

Actually yeah because the title track could almost loop seamlessly back to the first song, and then it’s “Nah, here’s this armageddon” instead. I like that, and it is a heavy piece. I went back to ‘Manor…’ a few times already thinking like, “…was Tomb Mold this heavy?” Whoa, that Malignant Altar is a bruiser, shit I hadn’t heard it prior. Do you have any ‘go to’ albums for Yo La Tengo and Pink Floyd? I was big on ‘Animals’ for a while but ‘Meddle’ is interesting to go back to, don’t know much YLT. I like Plini’s philosophy on prog music, that it should be written from an honest place not a ‘bet you can’t play this!’ mindset.

For Yo La Tengo, ‘Painful’ is my favorite. ‘Electro Pura’ is also great, but if i don’t want to feel as bad I’ll listen to their last couple records. They’ve lightened up in emotional tone over the years but still hit. Pink Floyd, that run of dark side/wish you were here/animals is my shit. Yeah I can get into Plini way easier than Animals as Leaders or something. They’re all incredible musicians, but Plini‘s approach to elevator music or “what if 80’s Pat Metheny was DJENT” is much more in my wheelhouse.

A lot of fans focus on the motivation/influence of death metal bands because there is this short-sighted paranoia where they think their genre is being usurped as a trend. I often see folks online who’re like “its only a phase” because newer death metal bands weren’t necessarily born with a copy of ‘Legion’ in their diaper. I’ve followed a lot of smaller bands from the 90’s that put out 1-2 big albums and I’d say 90% of them really were just inspired by the movement and moved on when the fans moved on. It was a ‘phase’, or an impracticality, for most unless they made it big and it became a full-time job depending on whatever momentum they had. So, why deify them? I guess I wonder from your perspective if you see that weird tunnel vision in fan interactions and touring or… if it is just internet seclusion.

I think most fans in this day and age know that bands are mostly just normal people but still get weirded out by non-metal things. Like, wearing a Keith Jarrett shirt almost sends a strange message like “I’m here with you, but we aren’t from the same world” and not in any put-down way or demeaning way. Some people click with it and some people are just thrown off by it. Like, I’ve had more fun connecting with someone buying merch over MST3K than some metal band. Yo, if we get 5 years of lots of quality death metal, that fucking rules. If you love ’92-’95 and then 2015-2020 then like, that’s amazing.

The bigger picture, as I see it, is that people only care because they want to connect with a taste level they recognize in the artists work. Like I’d have to dig pretty deep to find Keith Jarrett and Yo La Tengo in Tomb Mold, if ever, but the context is just knowing where you connect with music. Most people don’t care about that stuff. A lot of the ‘rock star’ delusion does fall off when folks attend shows and festivals, meet normal ass folks who run labels etc.

The Keith Jarrett influence I think comes out more in live performance aspects. Only because I move around like a weirdo haha, and he did some of that shit too.

An intimate connection with the instrument seems to be the key to Jarret’s legacy. We’d talked bout Michael Hedges [and perhaps Cynic, too] having that same spiritual connection within their performances. As a listener it is an emotional thing to watch that is often out of reach within death metal. Same with Atheist but in a different way.

I came back around on Atheist in the past couple years. Sort of got peer pressured into not liking them when i was younger. Heard it and thought it was super cool and then a bunch of people told me ‘Unquestionable Presence’ was shit so I avoided listening to it and talking about it because I’m a weak willed person but I think its sick. Only really ‘Unquestionable…’ though, never really felt much for the other records. Hedges is just the guitar as a whole band, and his on stage demeanor, his voice, his interpretation of others work, his energy, his playing. All of it. Just so good. I heard Hedges through Leo Kottke back as a late teen and his stuff always spoke to me. He also has that quality Keith Jarrett has where the individual playing the music is just as crucial as the music being generated.

I watch this like, once a month: [Michael Hedges final recorded live performance circa 1997]. Speaking of acoustic performances, I remember seeing Mark Kozelek [Sun Kil Moon, Red House Painters] play in a tiny ass bar like, 8 years ago before he really leaned into being a piece of shit and it was slightly transformative.

How often do you guys hit the rehearsal space? Do you pick up the guitar pretty much every day?

We try to practice once a week. Usually our practices feel like a waste of time or just not productive when we’re learning songs because they always sound bad at first. Now we practice with a single lamp on, and we just get into it. It feels a lot better. Then we all feel pumped and tell each other so, power of positive thinking and all that! haha. I play everyday, and anytime I come up with a riff I just make a video of it. Maybe it never gets used, or maybe its just the rhythm that I want to refer to but with different notes down the road.

Have you guys considered playing the entirety of ‘Planetary Clairvoyance’ live at some point? Your next couple months are pretty much just rehearsals for the tour?

We want to do a record release in the room we recorded the record and play it front to back. Hopefully we can pull that off and hopefully capture it on video for fun. And yeah, tighten up what we wanna play on tour and just be ready.

Most of ‘Planetary Clairvoyance’ was written back in December of last year, but you’d remarked you had one more song to go. What was the last song you’d written? When did it all click into place? Are there lessons you’d learned, or put into action, while writing ‘Planetary Clairvoyance’? Things you liked, didn’t like, or an intentional new direction?

I think “Accelerative…” and “Infinite…” were the last two to get done. They were so rushed haha, Steve and Payson were definitely unsure of “Infinite Resurrection” and parts of “Accelerative…” and now they’ll probably be the most liked songs from the record haha. There was no worry once we heard playback in the studio after recording. As far as lessons learned, I’m not sure yet. I think I’ll have a clearer view of it after we’ve played songs off it for a couple weeks in a row.

Is there a buzz you get from coming up with something you really like? I guess some artists kind of chase the dragon while frustrated and some are more ecstatic about finding the good stuff through trial-and-error.

When I come up with a riff and I find myself playing it for like, days in a row, I know I like it. If I have to go back to a video to remember it, its probably a throwaway or needs to be re-worked. Or they become transition riffs. Like, a riff to get us from one point to the next. There is definitely one on the new record. And there was one or two on Manor. Usually they’re what I call “tornado riffs”, like the closing riff of “Blood Mirror”, or there is a similar riff in “Accelerative Phenomenae”. Fast picking, fast punk drumming just to fill in a gap

To think you have more riffs in waiting at any given time! I like those “tornado riffs”, I mean some bands really rely on those and they have less impact when the whole album is transitions. I feel like I’d read an answer to this in an interview a couple years ago but not sure, what made you pick up death metal guitar?

Umm, I started writing Death Metal because Max [Klebanoff, drummer/vocalist/co-founder] asked me to haha. If he hadn’t, I’d be loving this renaissance but I’d only be a spectator, not a contributor. So at the end of the day, people can love the riffs and the band but if Max hadn’t asked me, none of this would exist. I’m glad he asked. And yeah, I don’t really love these songs until after we’ve recorded them and start jamming them out, that’s when they really come alive for sure.

Would you consider yourself an optimistic realist? I appreciate that your outlook doesn’t seem destructive, but maybe I’m oversimplifying.

I think trying to set out to destroy is not a good way to live, but to anticipate erosion should be natural because of what can grow from it. So yeah I’m an optimistic realist somewhat! I never say it out loud but I think Love in many forms is the strongest force we have, and I just try to show it as much as I can. Try not to get bogged down in the negative. Still hate on shit but I don’t get emotional over it.

I’m sorta understanding how you can be chill in so many ways but create something as exciting as Tomb Mold. ‘Feeling it’ seems to be the key, I mean there is death metal and there is death metal that -makes- you move, you know? You’re more or less finding the rhythms and the full band boosts the signal? Did everyone bring ideas for ‘Planetary Clairvoyance’ to build upon the guitar rhythms first, or do you and Max both bring in songs and workshop them together?

By the time Max and I get in the room to workshop new stuff, there’s not a lot of room for change. Its moreso “This is the song, determine how many times you wanna play a riff if its too short or too long how I have it”. The whole song is usually sketched out by the time it starts getting practiced. I don’t leave a lot of room for ideas outside of “Hey Payson [Powers, guitarist], put a lead in this song pls”. His leads on this record are so good. He really outdid himself. But also once I show him and Steve [Musgrave, bassist] what I have In mind for what they might play, they lock up and tweak whatever I show them to make it better. Payson brought up a good point that now it’s a lot easier to learn because they’ve become so accustomed to my writing approach and Max’s drumming. The comfort level is higher. Its a little iron fist ruling on my part, but I find the “creative director” of anything needs to be assertive. But let me be clear, creative director is a fancy way of saying I upload videos of me playing collections of riffs in a kitchen. It’s nothing without those guys making it real. I just have a loose vision or poorly drawn blueprints. Especially on the non-music side, Steve is the creative genius with all of the cool shit we make and he basically runs the whole other side of Tomb Mold, and he can rule it with an iron fist.

I really love “Accelerative Phenomenae”! Sounds very Swedish to start and I feel it every time it hits on the tracklist. How do you pick the order of the songs? Do you have any method for staying objective when piecing the album together, or is that whole vision in place by the time you’re finished writing?

“Accelerative…” is the song I know I will hate the most in 6 months but people love the most in 6 months hahaha. Umm, I usually try to think about sequencing in two sides (How do we want to kick off Side A and close it, Side B should always start big, but end on this record end with a more melancholic stretch [last two songs]). I always think about the album “Hats” by Blue Nile. 7 song record, wonderfully sequenced. Usually theres a conversation with Max before we really start cracking at the record where I just sort of pick his brain about what he wants to write about, if he had anything in mind for sound, stuff like that. But the thing with Tomb Mold, its a lot like a friend you’ve had for years. Everyone has 6 or 7 good stories, and we spend years hearing them over and over again and telling them over and over again. Tomb Mold has like, 5 or 6 stories that take form as songs. This record, we can say things like “Infinite Resurrection is the “Abysswalker” of this record”, “Beg for Life is the Manor of this one”, “Accelerative is the Blood Mirror of this record”. We don’t know which is which until its done. The trick is making sure that those stories don’t sound stale. If we did 3 more in the next 3 years, you’d see those stories go stale unless you deform the process, but by that point, start a new band instead! Its like multiple trips in a row to the NBA finals, by the end you’re just fatigued. You need to reset or recharge.

[Note that “Accelerative Phenomenae” dropped as the second single off of ‘Planetary Clairvoyance’ two days later. Swoosh!]

Would you say ‘Planetary Clairvoyance’ is a concept album? Or, could you expand upon the general narrative of the album (I mean, as much as you’d want to)?

I don’t know if ‘Planetary…’ is a concept album except that it touches on the end of everything I feel like. If this ended up being our last record, the content would feel extra poetic, thats for sure. Max has some quotes about his side of the lyrics that I’ll send over, but its a lot of confronting death, the end, the unknown, all time is beginning, unlimited space forever. But I’d say for me it is the potential new beginnings that come out [of] the end, that come out of things dying.

Are you big on sci-fi/horror hybrids? As in books, movies, TV etc. Sorta getting a feel of where your head goes when you’re being creative and the eldritch/cosmic horror comes out. I guess I see folks mentioning Tomb Mold as influenced by video game worlds still but I feel like that stuff was pretty damned subtle beyond 2017.

Haha, no its chill. Man, people are still searching for Bloodborne references and I fucked up by naming the opening track “Beg For Life” because there is also a gesture from BB named that, haha. I just explicitly state that we haven’t written about Bloodborne in a long time or any of the Souls games. It was always subtle but give them an inch, y’know?

Hybrids are definitely my speed. I was never big on hard sci-fi or straight sci-fi outside of some movies and Star Trek and love Stargate/SG-1 series too OBVIOUSLY. Like, I read Foundation by [Isaac] Asimov and was like “Yeah, this is fine but holy shit its boring”. I like cyber [punk?] stuff as well. Books like Neuromancer or shitty movies like Johnny Mnemonic. Its the imagery of it mostly. But like, I watched that Tom Cruise movie Oblivion this week and I was totally cool with it. Tomb Mold has a running dialogue about Tom Cruise‘s near perfect filmography hahaha. Shit like, Aliens, Event Horizon. Just that blend of the outer reaches of the unknown but being faced with it under extreme circumstances. Its a good way to write about change, letting go, starting over, new lives, souls, balance, all those intangibles. Cosmic Horror lends itself well to that. The songs read as nihilistic, or as a means of destruction, but for me they’re about growth out of something, or maybe an unwillingness to grow, so you destroy yourself.

Y’all have been pretty active with festivals and some big local shows, any big show highlights so far from 2019? You must be looking forward to the tour with Superstition, I know you talked about them some before but are you a pretty big fan / friends with them?

Maryland Death Fest was probably the highlight, even though I didn’t really experience any other bands, our set was killer. Just lots of great energy in the room, lots of positivity, lots of diving and moshing, except for the guy who told me after we needed a frontman. Fuck that forever. That’s an insult to what Max can do and if you can’t appreciate how talented he is, and his ability to command a room from behind the drum set, I don’t want to know you.

I met some of the Superstition boys when we played in Santa Fe with Of Feather and Bone. Nice dudes and everything they do music wise is terrific. Stoked to tour with a band that is gonna make us work hard every night to bring it. That was the fun with OFAB and Horrendous. But its not a competition, its a mutual appreciation for what we all do as bands and as individuals. I really like how our live sets have been going. I think we’re all really in our groove and I love just turning to the side and watching the boys go off and trading glances with each other every so often. I like when I can hear Payson‘s leads off the stage and not through the monitor. Love watching Steve get locked in, and Max and I always vibe out at parts during a set.

Have you written any more Tomb Mold material this year? Or is it way too soon to be looking that far forward. Does performance tend to inspire new material?

Have I written more material? Yes but just a little and my mates won’t be sent anything til deep into 2020. Performance plays a couple crucial roles with new material. Our personal performances and how we build sets helps me figure out if anything is “missing”. Like, if I’m thinking of how good it’d be to have “x part” in the middle of a set, I’ll be conscious of that when writing something new. Like, the song “Planetary Clairvoyance” and especially the last couple minutes of that set fills a chasm, We don’t get to just grind that much so the chaotic build up at the end of that song is great for that and then we stop on a dime and play one of the more ignorant sections of our repertoire haha. Sometimes it comes from watching our peers play music and just to be in awe over something and be like “I’d love to do that”. I’m more inspired by our contemporaries than anyone else. So many good bands right now playing great music.

This is the dumbest question considering you’re hitting such a stride and high point of popularity but… Do you see an endgame for Tomb Mold? Like when Necros Christos stated the scope of the project was set all along, do you see a natural endpoint where you’re satisfied? Or, would you pull a Katatonia and just whip a 360 and go post-hardcore or something under the name. How far do you think you’d go deforming the process? Hoping its not the last record and y’all at least have a deathgrind or death/doom phase, lol.

I could see us grinding a bit more, and its not a dumb question! I do see some sort of logical endgame for Tomb Mold but it really depends on what happens to all of us. I could see some guys not wanting to tour that much after this year and thats OK. We are caught in this weird middle ground where if we wanted to grab the bull by the horns and do A LOT, we could, but I don’t think any of us want to. At some point, I could see guys in the band starting another band if they don’t feel creatively fulfilled from Tomb Mold. I’d have no objection, I know that I don’t allow a lot of room for contributing to the writing process. That’s something I can’t let go of this deep into the band. I’m not sure if a 4th LP is worth it, but an actual 12″ EP down the road could be in the cards. I am going to start another band once I move to Philadelphia that will be more death doom like Unholy and ‘As the Flower Withers’ era My Dying Bride, but that will be with different people (capable awesome people as well!).

Cheers and thank you for working with me on this.

Of course dude, its my pleasure! You can literally throw infinite questions my way and I’ll try to answer all of em haha


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