OPERA

While symphonic death metal hasn't exactly cornered the market in one of extreme metal's most popular subgenres, a few bands have managed to rise to the top of the death metal game and deliver some of the most brutal technically challenging death metal chops accompanied by the most unlikely accompaniments of symphonic classical arrangements. One of the biggest of the lot, FLESHGOD APOCALYPSE has been at it for nearly two decades and has consistently delivered some of the most demanding death metal there is to be experienced however like many bands that get stuck into a rut, even this band has been pretty much running off the template set out as far back as 2009 with its debut "Oracles" and has been pretty much cranking out variations of that general theme ever since.

Well nothing like a near death experience to shake things up a little bit and after the band's 2019 release "Veneno," band leader and bassist / vocalist Francesco Paoli suffered an extreme mountain climbing accident that nearly snuffed him out like a candle in a category 5 hurricane. Emerging five years later, the band returns with its sixth album OPERA which upon first glance of the dubious title makes you wonder if they've gone full on Therion and abandoned their brutal death metal familiarity for some kind of modern rendition of Jacopo Peri. Well after experiencing FLESHGOD APOCALYPSE's latest offering, i'm relieved that it's not the case at all and that the band has indeed delivered another crazy adrenaline fueled dose of quality death metal but not without some substantial changes.

With the same lineup as "Veneno" with the exception of bassist Paolo Rossi who has been replaced by, well who knows actually since no bassist is credited but i'd bet Francesco Paoli most likely delivered the goods. However drummer Eugene Ryabchenko joins the team as the latest percussive monstrosity that pummels your senses away for the album's 43 minute plus run. Superficially OPERA retains all the classic FLESHGOD GOD hallmarks that make this band stand out even amongst the symphonic death metal niche's competition however changes have occurred. Firstly this album has lost a lot of the overt complexity and progressive nature which has kept this band at arm's length of the general death metal fanbase simply by crafting musical compositions so twisted and technical that only the most devoted can make heads or tails of the band's modus operandi.

In effect, FLESHGOD APOCALYPSE has opted for a more accessible even poppier sound that is more akin to albums like "Communion" from Septicflesh rather than the inaccessible torturous realms of Gorguts or Death. With a greater role laid out for soprano vocalist Veronica Bordacchini, OPERA takes on a more melodic approach at times sounding a bit like Nightwish or Epica with a few neoclassical nods to bands like Angra or Luca Turilli's Rhapsody Of Fire. Likewise not every track is a ballbuster blastbeat laden speedfest but offers a bit of slower downtime with tracks like "Matricide" escaping death metal altogether and entering something more akin to Therion's symphonic metal approach on classic albums like "Theli."

While the album's balancing of past brutal death metal glories and the more accessible sounds of more streamlined melodic compositions works quite nicely, unfortunately the band ends the album with its first veritable ballad in the form of "Till Death Do Us Part" which features a saccharin piano based performance with Bordacchini in the forefront. While her vocals are suitable for the task at hand, the track itself reeks of a push for overt commercial glories and is the death metal equivalent of an AOR crossover moment. The short title track that follows basically continues in instrumental form but together add a rather underwhelming weak moment to an otherwise satisfying album's run.

While i personally prefer the uncompromising brutality and proggy technical excesses of yore, i am also a fan of melodic extreme metal and i have to say that FLESHGOD APOCALYPSE has taken a leap of faith into this new realm and crafted a nice chunky slab of melodic symphonic death metal. Fans of Septicflesh, Aephanemer and Brymir will appreciate this the most but those who crave a bit more brutal type of Nightwish or Epica will find lots to love here as well. A new beginning for the new FLESHGOD APOCALYPSE where the album delivers a more accessible range of melodic touches without sacrificing its sheer audacious death metal bombast. Only the last two tracks drag this one down for me but i have to say that i was surprised that this band that has evaded melody like the plague has done a great job in tackling a completely new aspect of its symphonic death metal possibilities. Oh and supposedly this OPERA has a theme and all that but whatever!

Gentle piano, with lovely use of the sustain pedal, leads us delicately into the clear soprano of Veronica Bordacchini as she commences the journey which could easily be the opening of an opera. Strings come in, and we sit back, relax, and bask in her wonderful vocals, so much so that when she hits the high notes and demonstrates her training we reach over and turn it up just a little more, so the music becomes all encompassing. It may be only just over two minutes long, but it is transformative, and then there is a slight gap, and the choir are back with Francesco Paoli singing the words "I Can Never Die", which leads us into the 10-act story inspired by the tragic mountain climbing accident which nearly killed him in 2021.

I actually think this album is a step up from the last two, which is not something I thought could happen as they have mixed the symphonic death with styles which are more classical and one can imagine fans of Nightwish or Epica enjoying how those bands have been joined together with Dimmu Borgir, and then influences from the likes of George Frideric Handel and Richard Wagner have combined to create something which musically is huge. A massive credit must go to Grammy-nominated producer Jacob Hansen (Volbeat, Epica, Arch Enemy) who mixed and mastered this as he has managed to make the quiet sections just that, while the massively over the top joining together of choirs, death growls and metal is insane. It feels like the listener is in the eye of the hurricane with the maelstrom going on all around, sheer chaos yet there is also order and continuity as while we do not comprehend what is happening there is a clear direction with loads of contrast.

Francesco is often the lead, with the choir playing an important part, with Veronica coming in at just the right moments to cut through the carnage. All those involved have played a major part, but it would be very wrong indeed not to call out drummer Eugene Ryabchenko (Banisher, Afgrund) as he is everywhere at once with hands and feet driving this album forward by sheer force of will. It leaves the listener exhausted, such is its majesty and power, and the only way to really pay homage to a magnificent work is by playing it on headphones, and very loudly indeed. The class shines through this from beginning to end, and at 43 minutes is both perfect and way too short as when in the zone the return to the real world is somewhat jarring, so the only thing to do is play it again.