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.

Conor Fynes 'Mafia' - Fleshgod Apocalypse (8/10)

When it comes to death metal, there's no denying that some of the world's most technically proficient and inhuman acts play within the abrasive and heavy style. Freed of many typical songwriting conventions, death metal musicians are given a wider playing field with which to sport their skills, and give a feeling of brutality and aggression scarcely seen in other styles. While all of this may certainly benefit death metal, many of the genre's adherents either fall into a technical, brutal sound with poor recording production, or a polished production that focuses on more melodic, conventional tendencies. With that being said, it's always a pleasure to be introduced to a death metal band that manages to record their sound beautifully, while all the while remaining viciously technical and heavy. Fleshgod Apocalypse is one such band, and on top of great production and unrelenting skill, their 2010 EP 'Mafia' showcases a few very unexpected twists that add to the EP being one of the most impressive I've heard in the past year.

'Thru Our Scars' opens 'Mafia' with full-force, immediately introducing the listener to Fleshgod's tightness as an act. To make what would otherwise be above-average tech metal better, symphonic influences (such as a violin breakdown, orchestral section) and even an operatic clean vocalist are thrown in, to never let the listen get too one-tracked in death metal. The second track 'Abyssal' flows in almost seamlessly, following the same heavy, yet beautiful sound of the band. To make things even more unique for death metal, the title track 'Mafia' is a classical piano piece, which- true to it's title- could easily fit as a musical theme for any mob movie. The only track here that isn't incredible is Fleshgod Apocalypse's cover of the At The Gates song 'Blinded By Fear,' which while staying true to the band's very technical approach, lacks all of the surprising nuances that makes the band so special.

A joke that is passed around a bit within the local death metal scene is that 'Mafia's album cover is actually a painting of the drummer. Humour aside, the intense percussion of Francesco Paoli is absolutely stunning. No stranger to the double-kick pedal, Paoli destroys his kit, and takes advantage of every possible drum fill to the max. Also of note are the great guitarists at work here, who effortlessly switch between crunchy, heavy riffs and neoclassical shredding.

While only still a relatively new band, Fleshgod Apocalypse shows some remarkable talent and promise, and if 'Mafia' is any sign, the band is well on it's way to going somewhere fantastic.

UMUR Mafia is an EP release by Italian death metal act Fleshgod Apocalypse. The EP was released in June 2010 by Willowtip Records. I´ve read reviews of the band´s debut album from 2009 called Oracles, but Mafia is my first encounter with Fleshgod Apocalypse.

The music on the 5 track, 23:55 minute long EP is brutal and technically well played death metal. Brutal death metal can swing both ways for me, which means that it can be extremely monotone and way too focused on brutality or it can be like the music on Mafia. The tracks on this EP are brutal as hell, but also composed in a very clever way, which means that all tracks stand out from each other, and all tracks contain intricate details to entertain the listener. The growling vocals are deep and brutal, but in addition to the growling vocals by vocalist/ guitarist Tommaso Riccardi we´re also treated to some semi-operatic clean vocals by bassist/ vocalist Paolo Rossi. The clean vocals are not a dominant feature and only appear in Thru Our Scars and Blinded by Fear, but they are really great for the variation. Some of the other details that help keep the brutal music interesting are samples, orchestral sections, piano interludes and other intricate features. While I spend time writing about those features the basis in the music is still brutal death metal. The pace is mosty fast to blasting but there are heavier parts too. The tracks may be brutal but they are full of hooks and recognisable parts.

I have to mention the drumming by Francesco Paoli as one of the greatest assets to the band´s sound. The drums are pretty high in the mix and they sound very powerful. But it´s how they are played that really excites me. We´re talking very fast and technical precision drumming that pushes the music forward ( I´m somewhat reminded of Flo Mounier from Cryptopsy). The blasts are spot on and take a listen to those extremely fast played double bass drums. This is a case where triggered drums work wonders. The rest of the band are also very well playing and I´d mention the neo-classical lead guitar playing as another highlight on the EP. Great themes and solos.

I mentioned that the drums are high in the mix and how well sounding and powerful they are, but evaluating the full production, it´s safe to say that this EP is very well sounding and that the sound suits the music perfectly.

It´s so seldom I´m surprised by really brutal death metal releases but Mafia has not only left me beaten and bruised ( yes it´s that brutal) but also intellectually intrigued and that´s a rare achivement. This is a sure 4 star rating and I´m actually leaning towards a 4.5.