FLESHGOD APOCALYPSE
Technical Death Metal / Death Metal / Brutal Death Metal • Italy

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FLESHGOD APOCALYPSE is a Brutal technical death metal act from Italy formed in 2007. The band released their debut full-length studio album "Oracles" in 2009. The "Mafia" EP was released in June 2010 through Willowtip Records.

( Biography written by UMUR)
Thanks to UMUR for the addition and adg211288 for the updates

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KingKing
Nuclear Blast America 2016
Audio CD$7.43
$11.96 (used)
AgonyAgony
Nuclear Blast America 2012
Audio CD$8.11
$6.07 (used)
OraclesOracles
Willowtip 2009
Audio CD$7.90
$7.11 (used)
LabyrinthLabyrinth
Nuclear Blast 2013
Audio CD$6.35
$4.91 (used)
MafiaMafia
Willowtip 2010
Audio CD$6.34
$4.50 (used)
KING(2CD)(ltd.)KING(2CD)(ltd.)
SONY MUSIC ENTERTAINMENT JAPAN
Audio CD$15.99
$32.46 (used)
KingKing
Import
Imports 2016
Vinyl$17.74
$61.00 (used)
KingKing
Import
Imports 2016
Audio CD$8.63
$13.58 (used)
KingKing
Import
Imports 2016
Vinyl$36.24
$58.00 (used)
LabyrinthLabyrinth
Import
Imports 2013
Audio CD$49.99
$11.99 (used)
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FLESHGOD APOCALYPSE Discography

FLESHGOD APOCALYPSE albums / top albums

.. Album Cover 4.10 | 13 ratings
Oracles
Technical Death Metal 2009
.. Album Cover 4.10 | 15 ratings
Agony
Brutal Death Metal 2011
.. Album Cover 4.17 | 10 ratings
Labyrinth
Technical Death Metal 2013
.. Album Cover 3.80 | 5 ratings
King
Death Metal 2016

FLESHGOD APOCALYPSE EPs & splits

.. Album Cover 0.00 | 0 ratings
Da Vinci Death Code
Technical Death Metal 2008
.. Album Cover 4.00 | 9 ratings
Mafia
Technical Death Metal 2010

FLESHGOD APOCALYPSE live albums

FLESHGOD APOCALYPSE demos, promos, fans club and other releases (no bootlegs)

.. Album Cover 0.00 | 0 ratings
Promo '07
Death Metal 2007

FLESHGOD APOCALYPSE boxset & compilations

FLESHGOD APOCALYPSE singles (0)

FLESHGOD APOCALYPSE movies (DVD, Blu-Ray or VHS)

FLESHGOD APOCALYPSE Reviews

FLESHGOD APOCALYPSE King

Album · 2016 · Death Metal
Cover art Buy this album from MMA partners
siLLy puPPy
After three long years it’s time for another night at the mosh pit where operatic divas bang their heads to ear splitting death metal riffs, blastbeat drum fury and Chopin inspired classical orchestration gone wild! Yes, FLESHGOD APOCALYPSE is back with their fifth overall studio release (counting the “Mafia” EP) and they are back with a vengeance. Not content to merely release just another album this Italian band decided to up the ante and headed up to Fascination Street studios in Sweden in order to record their latest album KING with the master mixer and mastering maestro Jens Bogren. While the album cover created by Eliran Kantor may not induce the same symphonic death metal feel as albums like “Agony,” it does represent the theme that represents a concept album which represents the brave and noble aspects of each and every one of us cultivating and harvesting our own inner strengths in order to deliver ourselves from the outer Dark Ages.

While the lyrics take the album into the conceptual realms of the progressive and esoteric, the music is still firmly grounded in the symphonic death metal hybridization that the band has been tweaking and refining incrementally with each subsequent album. While the general differences usually lie in the ratio of extreme metal to symphonic elements, i would have to say that KING doesn’t delve too much further in the symphonic orchestral direction which the previous album “Labyrinth” suggested and actually stays within the parameters that that album set. While this balance is maintained between the two genres it is quite differently melded together in different ways.

We get a cool intro with “Marche Royale” that regally sets the pace of a grandness to come. After the initial ceremonial act of a full-orchestrated death march begins, the band wastes no time getting to business utilizing an energetic thrash metal riffing approach that reminds me of Metallica at their late 80s prime and also conjures up all the possibilities that band could have evolved after their mediocre “S&M” experiment that i always found lackluster. It is clear by the way the intro melds into “In Aeternum” that Francesco Paoli’s musical composition skills have grown in prowess and the symphonic classical elements are no longer subordinate to the death metal and both elements have not only gained equal musical powers but the two dance together like a blackened ballerina of death on a razor’s edge of the threnodies of the throne.

The progressiveness of this album is quite impressive as it sounds like they have adopted the best aspects of an Enslaved album with the alternating dueling of the death metal and clean vocals all the while allowing the diva dynamics of soprano Veronica Bordacchini to dominate the soundscape at times which leads me to the one stark surprise of the album which comes at track number seven “Paramour (Die Leidenschaft Bringt Leiden”) which lyrically is lifted from Johann Wolfgang Von Goethe. On this track our diva steals the show and does a solo performance with only an accompanying piano. While well performed, this was the direction i feared this album to be heading and despite this being the only bugaboo about this album, it doesn’t last long and probably tries to advertise the fact that this album is also released as a double discker in digi-pak with a second CD that contains the album in an all orchestral version. I have opted to pass on this because if i want to hear pure classical music i’ll stick to the classics.

With a nice balance between thrash, death and progressive metal all woven around seductive symphonic classical grooves, i find KING to be yet another excellent album in the quality over quantity world of FLESHGOD APOCALYPSE where each passing album only expands its tentacles into more intricacies of fine tuning what the band already excels in. Similar to their other albums, the tracks flow together seamlessly creating a nearly full hour listening experience delivering excellent musicianship and stellar production and mixing of two opposing musical forces. It’s like making a painting with oil and water and somehow manipulating them at an atomic level to make them dance together like the hippo from “Fantasia” with tattooed skateboard punk dude in the mosh pit. An acquired taste perhaps but if you’ve built this type of musical hybrid into your palette of eclecticness than KING will not disappoint.

FLESHGOD APOCALYPSE Labyrinth

Album · 2013 · Technical Death Metal
Cover art Buy this album from MMA partners
siLLy puPPy
Let the demons and divas play! FLESHGOD APOCALYPSE have become the masters of mixing lush symphonic orchestral arrangements with their trademark brutal death metal that somehow infuses them with touches of power metal including the melodic and often sweeping guitar solos. LABYRINTH is their fourth overall release (3rd full) and continues their tradition of changing things up without sacrificing any of the elements that makes them fairly unique in the burgeoning extreme metal world these days.

What is the same is their usual formula of taking ample amounts of extreme metal, most notably in the death metal department which includes the grim, guttural and growly vocals of Tommaso Riccardi, the down tuned brutal guitar and bass assaults and the frenetic technical wizardry of Francesco Paoli’s extraordinary brutal and beastly drumming performances. Like “Agony” where the band stepped up the classical orchestral aspects, LABYRINTH carries that torch even further by extending the role of the symphonics. And once again the tracks all flow together seamlessly as to give a simple album feel broken into many acts or parts rather than completely detached pieces of music. 
What’s different on this album is how much more the band has expanded their sound and songwriting. In the beginning the symphonic aspects were tamped down by the death metal and by “Agony” finally found their equal footing but on LABYRINTH they are allowed a lot more room to breath, expand and dominate. The scales are certainly more tipped in this direction as the death metal beast although not having been even close to retired has at least taken a back seat for significant portions of the album. We simply get more completely classical parts that not only make up intros and outros but grace transitioning sections within tracks as well as vying with the metal parts in every part of the album. There are also more uses of Paolo Rossi’s clean vocals as well as the operatic diva enchantress duties of Veronica Bordacchini who has free reign at times while other times being part of the beauty and beast team where all three vocalists are harmonizing together.

This is the most diverse album by FLESHGOD APOCALYPSE yet. The arrangements are much more complex and both the classical and metal characteristics have expanded their tentacles into new arenas. The classical not only includes more operatic moments but incorporates expanded Chopin-esque piano and for the first time has acoustic classical guitar as well as the usual neoclassical soloing. On the metal side there are different types of riffs that emerge now and again. There are moments of thrash, industrial and traditional metal in the mix that don’t replace the dominate death metal but merely augment. And the way all these instrumental roles mix together sounds fresh and unlike previous albums as well.

At this point, the increase in symphonic involvement does bring bands like Septicflesh to mind however FLESHGOD APOCALYPSE remains more extreme and complex than their Greek cousins and often brings the Canadian Unexpect to mind in its frenetic and unforgiving fusion but once again doesn’t quite throw down the extreme avant-garde gauntlet like that band has. The sound stays within the parameters of the sonic collaborative frenzy of classical music with death metal and only mildly extends those boundaries. This is another brilliant album by FLESHGOD APOCALYPSE and i only prefer this one slightly less to “Agony” simply because in the balancing act of symphonic vs. metal i feel they went a little overboard with the symphonic aspects but it is simply a matter of taste and only a minor quiver since the compositions overall exude a more sophisticated approach hinting at the fact that FLESHGOD APOCALYPSE are continuously evolving their sound and haven’t yet unleashed the best that the beast has to offer.

FLESHGOD APOCALYPSE Agony

Album · 2011 · Brutal Death Metal
Cover art Buy this album from MMA partners
siLLy puPPy
So you can’t decide if you want to go to the opera or have it out at the mosh pit? What to do? Well, luckily there are options and FLESHGOD APOCALYPSE lays it all out as the perfect way to feel like you’re getting a little culture while head banging until your eardrums bleed. AGONY is the third overall studio release following in the incremental footsteps of “Oracles” and the “Mafia EP.” While on those two releases brutal death metal was the clear winner in the musical version of Predator Vs. Alien with the classical and symphonic aspects that the band incorporates being banished to the underworld where they would only be allowed to come up for air once in a while with only brief smatterings of their underlying importance in the musical structure. On AGONY we get a shift of power and the classical music is vying for dominance as it shares a fairly equally footing with the brutal death metal making this one of the most well balanced symphonic extreme metal albums i have ever heard.

On the very first track “Temptation” we get a dark and sombre taste of a Berlioz sounding “Symphonie Fantastique” with a haunted diva ushering in undulating rhythms that ratchet up the intensity that ultimately summon the metallic beast of the underworld allowing the cacophonous raucousness we call death metal to join the party and bombard us with the monstrous technical drumming of Francesco Ferrini doing his best to rip the classical aspects to shreds. Accordingly he is joined in by the insanely down tuned guitar dual guitar assaults and bass madness, however on AGONY unlike the previous two releases, the classical music has regained its power and now is in full control never letting itself to be diminished to second best. The result is nothing less of outstanding as neither the death metal aspects nor the classical aspects of the music compromise their integral physiognomy in the least bit making this one of the most triumphing releases of this sort of symphonic extreme metal.

I’m serious when i say don’t think for one minute that the extremely brutal death metal aspects have been compromised by letting the orchestral elements shine through. Somehow FLESHGOD APOCALYPSE pulls this off with grace. While the majority of the album is highly aggressive on the death metal side with Tommaso Riccardi bantering out the most guttural and growly of death metal vocals alongside some of the best technical drumming skills in the musical world that serves as an anchor to the metal side even at the album’s most mellow moments, there are plenty of passages where a more melodic contemplative side are allowed to reign such as on “The Deceit” where Riccardi trades off with bassist Paolo Rossi’s clean vocal contributions. In addition there are many more pure symphonic non-metal moments that not only serve as bridges between the ten tracks that seamlessly run together but when the two genre styles are in full swing always is heard as an equal not being subjugated to second class. If that wasn’t enough Cristiano Trionfera somehow fits neoclassical power metal guitar solos into the intact death metal sound.

Upon first listen i was a little disappointed as i felt the symphonic aspects dominated a little too much on this one in comparison with the previous two but after a few listens this prejudice literally disintegrated and the beauty of the balancing act between the two styles and the awesomeness of the arrangements and song structures sunk in. Once again, the classical music is the very fabric of the song structures and GODFLESH APOCALYPSE proves here that they are all classically trained musicians who are just a wee bit more caffeinated than the average Yo-Yo Ma’s of the world! This is music that you can truly feel so old-worldly cultured in the mosh pit. You can feel like a hoity-toity bigwig for a nanosecond only to be shattered by extremely brutal and frenetic sonic attacks. The album remains really brutal but on “The Forsaking” a classical piano run is the dominant force having wrested control of the death metal and walks it on a leash but on “The Oppression” death chews that leash off and furiously regains its foothold. After all actors in this sonic cockfight are exhausted and call it a day, the finale “Agony” ends the highly energetic fusion affair with a nice Chopin inspired classical piano piece that instills a melancholic dread that leaves the listener feeling like tangled dude on the cover art devoid of hope, light and promise of resolution. Wickedly cool stuff!

FLESHGOD APOCALYPSE Mafia

EP · 2010 · Technical Death Metal
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siLLy puPPy
FLESHGOD APOCALYPSE followed up their debut album “Oracles” with a short but brutally sweet EP titled MAFIA. Once again this band has conjured up some of the most technically proficient death metal to date. While the band follows close in the footsteps of their debut album by intertwining classical and brutal death metal with the brutality clearly winning out, the classical aspects do shine a bit more through the din. Right from the beginning we hear a violin before being drowned out by a cacophonous din of highly distorted guitar riffs, pummeling blastbeat drumming and guttural growly vocals to die for!

MAFIA is a sonic assault from every standpoint. This is ugly, brutal, cold and an utter onslaught on the senses. The pace is absolutely relentless as the breakneck speed only gives the listener sporadic yet brief respites from the barbarous breakneck pace of the distortionfest. While this is certainly some of the most brutal death metal the planet has to offer, what makes this ever so addictive is that the song structure is so infused with classical music textures that only occasional bubble up from the underworld just long enough as to remind the listener that there is indeed an underlying melodic approach to the madness.

While this album is fairly close to the debut there are some efforts to diversify the songwriting which also includes a final track that is totally written on the piano bringing a Chopin-esque melancholy to conclude a contemplative anecdote to the baleful barrage of the senses. While the classical bubblings are scarce at this point in the band’s discography there are a few key points like in “Conspiracy Of Silence” where they emerge to dominate for a brief period to tame the savage beast.

Between the excellent production that updates the death metal sound without sterilizing it and the outstanding musicianship of this phenomenal band that brutally assault the senses at the speed of light while maintaining an impeccable ability to balance the robotic with the progressive subtleties, FLESHGOD APOCALYPSE simply sonically bedazzles and delivers in the most unconventional ways of incorporating melodic anchorage in a seemingly cacophonous din of sonic torture. Not only am i impressed by this madness but i always find my protruding appendages banging and often destroying all objects in my vicinity simultaneously when this repulsive raucousness seriously blastbeats my reality.

FLESHGOD APOCALYPSE Oracles

Album · 2009 · Technical Death Metal
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siLLy puPPy
Classical music and brutal death metal may sound as appealing as pickles and ice cream (unless you’re pregnant) but once upon a time in a galaxy not far away, well THIS one, the same was true of chocolate and peanut butter until two individuals bumped into each other on the street and one’s chocolate fell into the other’s peanut butter and thus Reese’s peanut butter cups were born. Well here we have a similar effect where symphonic classical orchestrations meet the most extreme brutal death metal. Yeah, i know the death metal often wins in the battle but when it sleeps, the symphony awakes. To be fair, the death metal is also unique in that it contains neoclassical guitar solos.

FLESHGOD APOCALYPSE debuted in 2009 with ORACLES and brings these two genres neck in neck and in all honesty the brutal death metal wins out. Mixing such such extreme genres is nothing new of course. Rhapsody, Angra, Therion and probably their closest cousin Septicflesh all started mixing classical music around extreme metal elements but i would have to vote FLESHGOD APOCALYPSE as being the most EXTREME of the lot with the most unrelenting brutality incorporating all the usual suspects death metal has to offer such as the growly guttural vocals, the highly distorted breakneck speed guitar and bass riffing and the blastbeat a million beats per second drumming. The music is technical to be sure but it is more mechanical and focused on just pounding the bleep out of your eardrums.

Yeah, this is tech death metal. Cold, sterile, brutal, designed to wake the dead. While it may seem this is a death match of classical vs. death metal, the fact is that the classical for the most part is simply entwined in the very fabric of the songs themselves. They seem to be written firstly as classical music and then the classical is dropped and layered upon with brutal death metal which is a clear contrast to bands likes Septicflesh tha t merely seem to symphonically embellish extreme metal. ORACLES isn’t gonna convert classical music aficionados to brutal death metal lovers or vice versa but it will certainly appeal to those who love both genres and can appreciate the audacity of layering different genres together in a creative way. Think of it as extreme mashups and you’ll get the picture! This is a confident and well-produced debut that shows that Italian music isn’t all about romanticism and pastoral prog, they can also take the most melodic music and turn it into the most extreme headache music that would put second wave of black metal to shame.

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