Fleshgod Apocalypse – Opera

Alexi Laiho once asked: ‘Are You Dead Yet?’.

Francesco Paoli responded.

Fleshgod Apocalypse is an undeniable force in the world of death metal. Not only are they one of the most insanely technical bands to have ever walked the earth, but unlike most technical music that has a tendency to lose expressive value by becoming too clinical, this bunch of mad men can use their instrumental proficiency to produce some of the most intense displays of emotional outpour I’ve ever heard in music. Bringing together the raw brutality of death metal and the poignant theatrics of opera, and binding them together through fiery Italian passion, they create a true theater of the macabre. And this latest record, titled “Opera”, might just be the most visceral, vulnerable and honest work they’ve released to date. Mastermind, multi-instrumentalist and vocalist Francesco Paoli has a personal story to share, and he did not hold back on delivering his experience in its most raw and brutal form. So, if you’re ready for some oversharing in 300bpm, then strap in my friend, because this album is one for the ages, and I only hope that my review can do it justice.

Fleshgod Apocalypse – I Can Never Die

“Opera” deals with a rock-climbing accident that sent Francesco into a battle for survival during extended hospitalization. The album doesn’t follow a narrative flow, nor does it aim to detail on the accident or the specifics of the story, but rather focuses on the struggle for survival, the inner conflicts, uncertainty and revelations that emerged from this dreadful experience. The feelings and ideas are delivered in the form of an opera, as the title suggests. Most songs are portrayed as a dialogue between Francesco and various surrounding forces, whether real, philosophical or imaginary, that personify his near-death experience and allow him to present his fight against it, in true artistic form. Fleshgod Apocalypse are in their element when dealing with such a concept, given that shocking imagery, brutality and drama are at the top of their skillset.

Now, it doesn’t take a genius to tell you that Fleshgod Apocalypse songs are fast. But I guess it’s as good a starting point as any to unpack their instrumental supremacy. Drummer Eugene Ryabchenko presents an absolute onslaught of blasting in all its glorious forms. Throughout songs like ‘I Can Never Die’ and ‘Bloodclock’, he’s in full throttle mode for the entire duration of the track, blazing through the speakers at an outright unhuman speed on the kick drums as well as blasting on the snares. But he manages to keep everything very rhythmic and intuitive, so that the songs are very groovy. The guitar riffs and bass participate a lot in allowing the music to feel solid and grounded even on the most ludicrously fast phrases, through very clear accentuation and articulation, and by creating the feeling of a frantic march, often also mixed in with themes and melodies. The band just knows where to drop some intuitive anchors that the listener can effortlessly be drawn into, in order to get a feel for the pace and energy of the music, without necessarily having to process the insane barrage of technicality in full. Thus, the speed becomes a vehicle for the energy of the songs, rather than the focal point itself. Once that’s sorted out, the message can be made clear in the form of melodies, vocals, and lyrics.

Fleshgod Apocalypse – Pendulum

‘I Can Never Die’ has a catchy, almost poppy chorus, sung by the incredible Veronica Bordacchini. Normally you’d think that this is inconsistent with the death metal aesthetic, but this song aims to be more than just brutal and aggressive. When taking this catchy, almost joyful theme and laying it over relentless death metal battering, it gets a maniacal feeling across, defiant in the face of death. The lyrics that compel the listener to play the music long after the artist’s passing, present a way to become immortal. Defiance of death becomes a running theme throughout the album, created both in the dialogue between Veronica and Francesco, and in the clashing of morbid and triumphant aesthetics in the lyrics. The lyrics in ‘Bloodclock’ describe a funerary scene for his burial and the desperation of the ones who lost him. But this all comes in contrast with the mantra-like line “But I’m not dead yet!”. ‘Pendulum’ literally describes him swinging between the realms of life and death, portraying hopelessness and desperation, but anger is also present, showing the fight is still there. There are also themes of inner conflict, of having to let go of certain beliefs and goals in order to keep going. ‘At War With My Soul’ sees the protagonist defeat his former self, as if dying to be reborn again. Throughout the later half of the album, the focus is switched to those he loves, and the idea of coming back from the dead for them (‘Matricide 8.21’, ‘Per Aspera Ad Astra’). And by the end, we see a triumphant return in ‘Till Death Do Us Part’, which is the only song on the album that doesn’t try to outcompete a full squadron of machine-guns with one drum kit alone (by that, I mean it’s slower).

Fleshgod Apocalypse – Bloodclock

While some songs are fully focused on blasting everyone’s brains all over the walls, others are more rhythmic (‘Pendulum’, ‘At War With My Soul’) and they give the listener a proper chance to bang their heads and release all the energy accumulated when witnessing the horrific but passionate imagery in the lyrics. The guitar solos are also loaded with fiery technicality, but they actually don’t push it too far, leaving room for melody and circling around the song’s main themes. The keyboard element is also insane, which doesn’t often happen in metal. If there is one member in the band that will actually not run like crazy, it’s usually the keyboard, but in this album, Francesco Ferrini goes just as mad as all the other members, and often adds a slightly psychotic touch to the aesthetic (‘Pendulum’, ’Morphine Waltz’). Apart from the piano parts themselves, the orchestration is always massive in scale, and also very fitting for the atmosphere of the songs. For example, ‘Bloodclock’ is drenched in deathly choral effects and deep brass sections, fitting for the funerary imagery, while ‘Till Death Do Us Part’ gives the most lush and majestic string sections, to match the triumphant return of our hero.

Some special attention to the vocal performances themselves is also needed. Francesco Paoli isn’t the most versatile vocalist, but he more than makes up for that in passion, vulnerability, power and honesty, as well as a spectacular charisma to portray the feelings in each song. Apart from the screaming vocals, he also has a few moments of sinister reciting to add extra tension and flare. And I am very happy with how Veronica performs on this album, because she does a lot more than operatic vocals. In ‘I Can Never Die’ and ‘Bloodclock’ she offers some full-on belting and in ‘Morphine Waltz’, she even adds her own distortion in the form of a menacing screech.

Fleshgod Apocalypse – Morphine Waltz

There’s also a spectacular element of sound effects and design and some incredible production, presenting this psychotic theater play in its most real form. The guitars and screaming vocals are quite muddy in texture while the drums, orchestral elements, lead sections and Veronica’s singing are very crisp and clear. This blend enables the music to feel majestic and powerful on the attack but also raw and primitive. The sound effects that come along with it add a lot to the theatrical element, sounds like gasping breaths in ‘Bloodclock’, screaming voices in ‘At War With My Soul’, heartbeats in ‘Matricide 8.21’ and finally, the vinyl scraping in ‘Till Death Do Us Part’, indicating that the show is over.

Each song is a true spectacle on its own, in terms of emotion, imagery, lyrics as well as sheer technical insanity. But they are all tied together by the intro and outro of the album. ‘Ode to Art (De’ sepolcri)’ deepens a dark and ominous mood, blending in soaring majesty and unsettling horror into the same soundscape, setting the mood for what is to come. In contrast, ‘Opera’, the outro that comes after the story is over, is all piano, and sounds like ripped away from the dimension in which the rest of the album took place. It sounds somber, but also relieved, and allows the listener to exit the frame of the story and return to this world, but still carrying a hint of the emotions witnessed throughout the record, as if they’re a fading echo.

After sitting through this album for a number of times, I don’t think there’s anyone that can hear it and remain indifferent. I know technical death metal is not for everyone, and this is a truly relentless listen that might be too much for many, but beyond the death metal element, there’s a dimension of theater, poetry and drama, and a message of power and standing against all odds, that I think will inspire almost anyone. So whether you think this music will be your cup of tea or not, I strongly recommend that you sit through the entirety of “Opera” at least once.

Track List:

1. Ode to Art (De’ sepolcri) (02:18)
2. I Can Never Die (04:30)
3. Pendulum (03:58)
4. Bloodclock (05:14)
5. At War With My Soul (05:06)
6. Morphine Waltz (03:36)
7. Matricie 8.21 (05:35)
8. Per Aspera ad Astra (04:48)
9. Til Death Do Us Part (05:31)
10. Opera (02:44)