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For me, “heat” is a term that best describes that feeling that arises when you play together – not only on stage. Lukas Kranzelbinder: You can definitely see it that way. Do you bring it out even more in “Heat” – setting the tone for the return to the stage – and has it become even “hotter”, so to speak? You are known for your especially high-energy sound.
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Although everything is already changing a bit, you have to constantly look at where what applies, in terms of measures, and that everything then works. Planning everything is still an extreme, also bureaucratic, effort. It’s become a lot more complicated and, above all, it’s brought a lot of extra work. The big challenges were definitely the travel situation and the preparations. Also, that in some cases even more enthusiasm arose in individuals, who then more or less compensated for it, when only 50-75% of the people were admitted. But what was extremely noticeable was the unbroken energy and enthusiasm of the people. We had relatively many concerts last fall under very different conditions, because the situations were different in all countries. Lukas Kranzelbinder: That really depended. But if the music and you, as a band, feed on the involvement of the audience and the live situation itself, what new challenges have you faced in the recent past, where gigs in front of larger, physically present crowds have been rather rare? Or have new doors possibly been opened for you there?
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The breaking or blurring of the boundary between stage and audience has happened pretty instantaneously. And yes, the audience got pretty excited, which was great! It seems to me that we have created quite a high level of energy in our playing. But it’s also quite good, because that way everybody is kind of on their toes, fully involved, and has to concentrate completely, so that everything works. That’s exciting, of course, because you don’t have such a routine yet. But this weekend I wanted to try only playing stuff from the new album. In fact, I was curious to see how it works when we play a complete concert with the new pieces, because, generally, we mix the program with existing material. Lukas Kranzelbinder: Great! We had two concerts in a row at Jazzclub Unterfahrt, both sold out and it was a great atmosphere there. How were the first concerts for it for you? You are actually already in the middle of your release tour for the new album “Heat”, just on the way back from Munich. Bandleader LUKAS KRANZELBINDER in conversation with Sophia Umfahrer. Currently the band is back on tour with their now fifth album “Heat”, which will be released at the end of March. Since its birth in 2016, the septet SHAKE STEW successfully and unwaveringly holds the course of a unique sound creation. Drown in the flames and press play below.Ma/ jazz/improvisation, news, portraits/interviews
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Hadean Tides is the type of album that feels like stepping into a parallel dimension where oceans are full of fire. This track is a fantastic glimpse into the album’s power. In their hands, Giorgio Trombino’s growl sounds like a cosmic force. The brilliant mixing from Manueke Marani and mastering from Xavier Berthiaume help achieve that balance.
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Like the amazing cover painting from Mariya Popyk, Hadean Tides is comprised of shadows and lava-hot bursts of ferocity. When they hit a sprint with blastbeats they’re just as devastating as when they’re chewing on a thick riff. But Assumption aren’t just a slug-it-out, slow ‘n’ low death metal band clinging to doomy tempos. At 3:23, Assumption rumbles into a new groove before guitar solos light up the track like lethal solar flares. The song slithers through shimmering passages before diving into a murky lurch. When Claudio Troise’s bass rumbles into the mix it’s a harbinger of heaviness to come. “Submerged by Hadean Tides” begins with an ominous hush of synths and cymbals. Thanks to those labels, Decibel Magazine is eager to share the album’s first single “Submerged by Hadean Tides.” Assumption will alter our DNA when they release the full album on May 20th. The album will be released by Everlasting Spew, with Sentient Ruin handling the vinyl distro in the United States. Now we find ourselves at the haunted shores of the band’s upcoming masterpiece Hadean Tides. With heady themes and a sinister psychedelic flare, Absconditus (2018) further delivered on that promise. Instead of dragging the genre deeper into the sewers, the band ascended to outer space on their The Three Appearances EP (2014). In a genre replete with plodding clones, Assumption embody creativity and compositional strength. Formed in 2011, Italian death/doom project Assumption is a cosmic curiosity.