The fact is, there is no-one quite like Fleshgod Apocalypse. This creative bunch of Italian maniacs have successfully created `symphonic brutal death metal’. Chances are, many a spotty teen has dreamt of such a grandiose idea since the inception and mutation of death metal. However, it is now a reality; Fleshgod Apocalypse have fused the sound of classical instruments and opera with brutal, relentless death metal. Causing quite a stir when their debut `Oracles’ was released, and shortly after the EP `Mafia’, the band are now a well-known force in all that is brutal yet bombastic, causing fans of the more brutal, technical end of metal to swoon the world over. Grown men have been reduced to tears.
I can’t help wondering if this band aren’t slightly overhyped – I haven’t got enough fingers and toes to count the amount of death metal guitarists who have told me that I have to listen to this band, no matter what. Now I have. The first thing I notice once the sinister intro competed, is that the sound on `Labyrinth’ is massive. Not just heavy, but vast and overwhelming, like an opera house falling on you from a great height.
The drums are totally punishing; razor sharp precision blasting, incredible speed and jaw dropping technicality are the standard throughout the album. The pristine production really seems to emphasize the drums in particular, they are so heavy it almost hurts. Fleshgod Apocalypse rarely slow down to mid-pace, but when they do, the effect is absolutely crushing, and the technicality really shines through. Another instrument that really dominates the overall sound is the keyboard, adding huge swathes of dramatic, epic atmosphere.
The music is a massive, multi-layered affair, with countless intertwining levels and layers of instruments; this both Fleshgod Apocalype’s strength and weakness. On the one hand the intense high drama created by the layers of classical instrument sounds, occasional operatic vocals, and hints at neo-classical melody, as well as multi-layered vocals, are huge, crushing and immediately jaw-dropping. On the other hand however, there are one or two crucial elements which are lacking – meaning (for me at least) this album falls short of musical perfection. Where are the riffs? Where are the songs? For an awful lot of the album, the guitars are an indistinguishable rumble, with a few classical-sounding flurries leaping out of the background every now and then.
Each track flows into each other, and impressively huge as they may be, are mostly interchangeable, with the exception of the bizarrely named `Prologue’ (track number eight), and the next track `Epilogue’, which shows what Fleshgod Apocalypse can really do when they put their minds to it. `Epilogue’ is a real tour de force, which shows off their song writing talent; there is light, shade and a lot of real dynamism.
This obviously very talented and creative band still have a little way to go; they have the atmosphere, the fire, brimstone and the theatrics (as well as intelligent and intriguing lyrics), now they just need to hone their song-writing abilities in my humble opinion. Fans of the band will lap this up no doubt, but grumpy bastards like me need just a little bit more from this bunch of majestic miscreants.
(7/10 Jon Butlin)
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