FLESHGOD APOCALYPSE
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.

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AgonyAgony
Nuclear Blast Americ 2011
Audio CD$6.21
$6.20 (used)
LabyrinthLabyrinth
Nuclear Blast 2013
Audio CD$5.93
$5.20 (used)
MafiaMafia
Willowtip Records 2010
Audio CD$5.38
$4.91 (used)
OraclesOracles
Willowtip Records 2009
Audio CD$7.88
$15.28 (used)
LabyrinthLabyrinth
Import
Imports 2013
Audio CD$10.49
$22.96 (used)
AgonyAgony
Import
Columbia Japan/Zoom 2011
Audio CD$25.38
$23.94 (used)
Fleshgod Apocalypse - Labyrinth [Japan CD] COCB-60100Fleshgod Apocalypse - Labyrinth [Japan CD] COCB-60100
Columbia Japan
Audio CD$25.25
$39.00 (used)
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FLESHGOD APOCALYPSE Discography

FLESHGOD APOCALYPSE albums / top albums

.. Album Cover 4.16 | 10 ratings
Oracles
Death Metal 2009
.. Album Cover 4.08 | 11 ratings
Agony
Death Metal 2011
.. Album Cover 4.18 | 7 ratings
Labyrinth
Death Metal 2013

FLESHGOD APOCALYPSE EPs & splits

.. Album Cover 0.00 | 0 ratings
Da Vinci Death Code
Death Metal 2008
.. Album Cover 4.10 | 7 ratings
Mafia
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

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FLESHGOD APOCALYPSE Reviews

FLESHGOD APOCALYPSE Labyrinth

Album · 2013 · Death Metal
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UMUR
"Labyrinth" is the 3rd full-length studio album by Italian death metal act Fleshgod Apocalypse. The album was released through Nuclear Blast Records in August 2013.

Stylistically the band´s music might be rooted in brutal technical death metal, but they incorporate symphonic orchestral arrangements to their material and also male clean vocals and female operatic singing in addition to the growling vocals. The latter is the dominant vocal style on the album. The playing is on a very high technical level and especially drummer Francesco Paoli should be mentioned for his incredibly fast and adventurous playing. There is a neo-classical edge to some sections, but I´d call this symphonic before I´d call it neo-classical tinged.

The album feautures a professional and powerful sound production, which successfully combines the brutal technical death metal foundation of the music with the classical symphonic orchestration. It´s not necessarily an easy task producing music as layered as this is without losing a couple of details in the sometimes chaotic soundscape.

Upon conclusion "Labyrinth" is a high quality release by Fleshgod Apocalypse and yet another example of why they are often refered to as one of the leading symphonic death metal acts on the scene. Be prepared to be met with a non-stop wall of sound, very well played technical parts and a brutality level that´s pretty high on the scale. There are plenty of melodic moments on the album to compliment the more raw parts of the music though, so "Labyrinth" may speak to quite a few extreme metal listeners. A 4 star (80%) rating is deserved.

FLESHGOD APOCALYPSE Labyrinth

Album · 2013 · Death Metal
Cover art Buy this album from MMA partners
Kev Rowland
These Italians first became known when they released their debut two track demo in 2007, which then got released as part of a 4 way split. In early 2008 the band started to perform live in the Italian and European underground scene supporting bands like Behemoth, Origin, Dying Fetus, Hate Eternal, Suffocation, Napalm Death etc. At this time they were known for their work as a brutal death metal band, but soon started to move into a more symphonic area, combining the brutality with choirs and orchestras. In 2011 Francesco Ferrini, the pianist and orchestrator who had worked with the band from the beginning, joined as full-time member which enabled them to have even more grand symphonic arrangements on ‘Agony’, while ‘Labyrinth’ takes it to a whole new level.

Somehow, the combination of a death metal band at full power with an orchestra also giving its’ all enhances the brutality and rawness, as well as providing a very different dynamic. There are moments during this album when the listener just has to take a step back in awe as the combination of choirs, strings, brass and metal with death growls is incredibly powerful. If ever music could be described as being totally ‘over the top’ then it is this.

The mixing and mastering work of Stefano “Saul” Morabito is just stunning, with everything perfectly balanced. In fact, the only real concern I have about this is how on earth are they going to be replicate this in a live environment? Brutal, symphonic, powerful, amazing. This is one of the finest metal albums you will come across this year, whatever the sub genre.

FLESHGOD APOCALYPSE Labyrinth

Album · 2013 · Death Metal
Cover art Buy this album from MMA partners
adg211288
Labyrinth (2013) is the third full-length album by Italian death metal act Fleshgod Apocalypse. While the group's early work including debut album Oracles (2009) took on the brutal technical death metal niche of the genre, their prior album Agony (2011) saw the band shift into the smaller but steadily growing market of symphonic death metal. The prior album established Fleshgod Apocalypse as one of the most intense bands to emerge within the style, retaining their brutal death metal aspects while their technical side, though present, ended up seeming like they buried under the rest of the music. Agony was a thoroughly intense affair that set the standard for others to follow but ultimately it came across as an inferior album to Oracles for me.

A couple of years later and Fleshgod Apocalypse follow up Agony with Labyrinth. On the surface it would seem not much has changed, the band line-up including guest female vocalist Veronica Bordacchini (In Tenebra) are exactly the same, and unlike the shift between Oracles and Agony on Labyrinth the band is still doing exactly the same thing as they were the last time around. The only different, and it's an important difference to note, is that Fleshgod Apocalypse seemed to have really honed their craft since the release of Agony. The technical elements are better utilised and once again have become a defining feature of the band's music alongside the excellent as ever symphonic parts, which extends into some piano playing which I've always found adds an interesting layer to death metal music. Vocalist Tommaso Riccardi sounds as deep and powerful as ever and while one of my complaints about Agony, the rather unneeded and irritating clean vocals of bassist Paolo Rossi, are still present, they're not used so much on the album, while Veronica Bordacchini's guest soprano gets even more of a look in, and in contrast to Rossi's singing fits in perfectly.

The music is notably less orientated within brutal death metal than it was before though. Labyrinth is still heavy and intense, but restrained. In my view that's a good thing, as it allows both the symphonic and technical guitar aspects to shine, whereas on Agony only the former was really able to. I'd understand though if those who listened to Fleshgod Apocalypse because of their brutal death metal thought Labyrinth was a lesser album from the band, even if that's not something I could ever agree with on a objective or subjective level. To my ears because of the little changes Fleshgod Apocalypse have made to their sound it allows Labyrinth's songs to have more identity between themselves. The band still doesn't vary their formula an awful lot once the album gets going, but the results are a lot more satisfactory than before. The music is really epic sounding. Agony seems in comparison to just be symphonic backed brutal death metal. Labyrinth on the other hand is the real deal. An exceptional grade rating is deserved.

92/100

(Originally written for Heavy Metal Haven: http://metaltube.freeforums.org/fleshgod-apocalypse-labyrinth-t3152.html)

FLESHGOD APOCALYPSE Agony

Album · 2011 · Death Metal
Cover art Buy this album from MMA partners
J-Man
Agony's unique blend of brutal technical death metal and symphonic classical music immediately took the metal world by storm with its relentlessly technical compositions and precise orchestrations, and it's also helped give Fleshgod Apocalypse enough attention to be considered one of the most important young extreme metal acts on the scene. The Italian band made some waves with their previous two releases, but Agony is the album that will probably appeal most to the more forward-thinking metal community - after all, what's there not to like about technical death metal matched together with classical orchestrations? Unlike many other reviewers, I haven't been entirely blown away by Agony for a few reasons, but there's no denying the ambition and creativity found on this effort.

The music on Agony can best be described as a cross between the previous Fleshgod Apocalypse album, Septic Flesh, Dimmu Borgir, and Suffocation - that means you should basically expect the same style of brutal technical death metal that was on Oracles, as well as symphonic orchestrations and a more bombastic atmosphere. Mixing technical death metal with orchestral music has rarely (if ever) been done before, so I have a great appreciation for the ambition that Fleshgod Apocalypse shows on Agony. They really are a group of visionaries, and with a bit more improvement in some key areas, their next effort in this style could really be something special. While certainly good, Agony does leave quite a bit of promise and potential unfulfilled.

My biggest issue with Agony is that, even though the arrangements are more complex and intricate than ever, the songwriting feels a bit one-dimensional and monotonous. The frequent (and extremely well played, I might add) blast beats become numbing after a while, and the triggered sound of the drums certainly doesn't help in this area. As a matter of fact, I don't take a liking to most of the traits of the over-compressed and sterile nature of the production - it's professional for sure, but I would've enjoyed Agony much more if it had a more natural sound. The musicianship is among the best you'll ever hear, but it's so poorly mixed that everything feels drowned out by the triggered drums and orchestrations.

Agony has a lot of really cool traits, but the compositions just simply aren't memorable enough for me to label this as the 'essential masterpiece' that many others make it out to be - and, as mentioned earlier, the production also seems to bother me quite a bit. With all of that said, there are some great tracks on Agony ("The Egoism" comes to mind), the musicianship is absolutely stunning, and the ambition of this effort is admirable in every sense of the word. People who enjoy very brutal and technical death metal but are also open to hearing some classical orchestrations will definitely want to give this a listen. 3.5 stars are pretty appropriate here.

FLESHGOD APOCALYPSE Oracles

Album · 2009 · Death Metal
Cover art Buy this album from MMA partners
Conor Fynes
'Oracles' - Fleshgod Apocalypse (7/10)

For me, death metal is and likely always has been something that I'll either really like, or not care for. Much of it finds its technical brilliance marred by poor recording values, or a lack of tact when it comes to songwriting. Enter Fleshgod Apocalypse, a band that has stirred the death metal circle with only a single studio album and EP on the market, disregarding demos. I first came across this band with their 2010 EP 'Mafia', and was pleasantly blown away by the technical ferocity and heaviness of the band. On top of that, I immediately recongized their connection to erudite classical music, which only set them further apart from the legions of typical death metal acts. Seeking out the full length, I have not been disappointed. 'Oracles' is a vicious forty minutes of death metal that seeks to impress. Apparently, it succeeds to a fair extent.

My first impression of the record is that of extreme heaviness, surprisingly clean production, and the evidence of classical sections which really seek to add a level of regal class to what Fleshgod Apocalypse does. While there is not the same melodic proficiency as I first heard on 'Mafia', the classical parts really impress me; the arrangements do not quite sound as if they are performed by a live orchestra, but they are close enough to do the compositions justice. In the death metal elements themselves, there are also plenty of neoclassical riffs, played at rapid pace, to the point where they can get exhausting by the end.

The most powerful aspect of Fleshgod Apocalypse is tied between the rhythm guitar and the furious drumwork, courtesy here of Mauro Mercurio. The band has just a powerful ability to make the heavy sound beautiful as well, but unfortunately 'Oracles' still does not stand as a masterpiece in my eyes. This is greatly due to the songwriting itself, which is strong enough for death metal, but many of the songs feature little to no distinguishing traits, apart from the classical nuance here and there. In fact, the greatest impression left by any single track is the title song, which is ironically a classical piano piece.

Fleshgod Apocalypse would later go on to polish up their act even further, but there's no surprise to me when I hear metalheads speaking so highly of the album. With a little greater focus within each song, the band's next full length could be a real landmark for death metal.

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