It often happens that projects apparently born extemporaneously end up exceeding the quality of what has been done by the musicians involved in their main bands, and Tremors To Signal The End is just one of these cases. Reading the names of those who composed and played in this first work of Opium Doom Cult, it’s immediately clear that we’re not dealing with newcomers: in fact, the band was founded by Allen Scott, who the more experienced in the field will remember Scotty Simpson’s Beneath Oblivion, who also supports him in this new adventure in which keyboardist Rinaldo Yulfo has been enlisted. So we are talking about musicians with great experience, an essential condition to engage in the composition of an amazing work; after the first listen the ideal definition for Tremors To Signal The End is lysergic funeral doom, and never as in this case the moniker adopted turns out to be appropriate. The album is a real hallucinogenic trip, only that instead of being delineated by a psychedelic style, it unwinds pachydermically with the slowness of a funeral and the character of the most experimental and improvised sludge. An hour of music that drains and marks deeply, thanks to a tension always latent that is expressed with reflective passages and reasoned in slow but steady crescendo in pushing to the peaks of maximum intensity, then placate again and restart upwards, before the listener discovers that he has entered a loop from which he can not get out. These are typical side effects of the most dangerous and insidious hallucinogenic substances, with the difference that here the intake happens by hearing instead of orally or venously, which is definitely better in all senses. Longer and more structured tracks alternate, such as The Plague Of Our Lamentations, Seeking The Divine, Finding Emptiness and Black Lung Of The Distant City Suffering, with shorter but no less intense ones, such as We, The Forsaken And Forlorn and the poignant and final Elegies In Our Arms, for an absolutely satisfying and stunning whole to be handled with care.

2020 – Independent