Assumption‘s second full length possesses the impact needed to even better redefine what is meant by death doom in its initial guises, when Winter and Disembowelment decided to artfully slow down death metal by effectively decoding the subgenre by more morbid traits. On the other hand, Giorgio Trombino and David Lucido have already been pursuing this path for several years with this project of theirs (which is accompanied by others of an almost diametrically opposite nature, such as the magnificent last-born Bottomless) which, having said the adherence to the primary dictates of death doom, today appears as much as ever an ideal meeting point between monstrous entities such as Incantation and Evoken. Hadean Tides is a work of unprecedented heaviness but, despite this, it is not of overly complex fruition, at least for those sufficiently accustomed to such sounds, since the talent of these musicians from Palermo emerges even in the most tetragonous textures, always keeping away from an iconoclastic fury as an end in itself. After the broadsides of Oration and Submerged by Hadean Tides and the suffocating slowdowns of Daughters of the Lotus, the ominous dark ambient of Breath of the Dedalus interrupts the lava flow without breaking the tension, rather serving as a link to the shorter The Liquescent Hours and making less alienating the singsong development that occupies almost the entirety of Triptych, before its thunderous final eruption. The magnificent quarter-hour Black Trees Waving closes the album by proving to be a kind of compendium of the album’s contents, between brutality and sorrowful cues that alternate seamlessly. Despite not being a particularly prolific band, until now Assumption have released only excellent works (in addition to the 2012 demo Mosaic of the Distant Dominion, absolutely to make their own the 2014 ep The Three Appearances and the 2018 first full length Absconditus) among which this latest Hadean Tides emerges with overbearance, being a product with an international scope that would be unfair if it did not reach an audience outside the narrow national borders.
2022 – Everlasting Spew Records / Sentient Ruin Laboratories