During the documentary “Metal: A Headbanger’s Journey” (of the anthropologist Sam Dunn, and that won a Gemini Award for Best Writing in a Documentary) is stated that Metal has a strong link with classical music. Malcolm Dome (a writer and DJ, who passed away at the age of 66) stated that Richard Wagner would play on DEEP PURPLE, and BEETHOVEN would be on LED ZEPPELIN, and Bob Ezrin (the famous producer who worked with ALICE COOPER and KISS) states as Wagner reforms into classical music has something to do with Metal as well. Such words became true as CELTIC FROST gave birth to “Into the Pandemonium” who changed many rules into Metal, starting the age of experiences into extreme Metal ways. Then, to deal intellectually with “Opera”, the sixth album of the Italian Maestros of FLESHGOD APOCALYPSE becomes easier. But what about the music?

The first thing to have in hands are the changes of members to understand musically what’s happening: as a shapeshifter, Francesco now’s playing bass guitar and singing, leaving the guitar to the newcomer Fabio (Paolo left the band); the drums now are conducted by the Ukrainian drummer Eugene Ryabchenko; and Veronica Bordacchini now is a part of the band (she sang on “Veleno”, but as a guest musician). And these changes had impact on the band’s music, indeed.

For those who are into FLESHGOD APOCALYPSE’s music for some years, it’s clear that the Symphonic/Technical Death Metal ways of the “Veleno”, “King” and “Labyrinth” are still on their music, now with an improved and solid technical appeal, with many musical layers and contrasts (as when Veronica and Francesco singing in many moments), with grandiose orchestrations and charming melodies (pay attention to the lead guitars and arrangements on “I Can Never Die”), all gathered together under an artistic conception that resembles what is saw on Renaissance art and Mannerism, Baroque and Neoclassical ways. And besides such words could give the idea of something complicate, it’s not: “Opera” has a set of hooks and choruses that are hard to resist to.

In few words: maybe “Opera” can be said as the best album of the year!

Under the guidance of Francesco Paoli (the bass player, vocalist and mastermind of the band) and Francesco Ferrini (the keyboardist of the quintet), who produced the album, “Opera” was mixed and mastered by Jacob Hansen (who worked with the band on “Veleno” as well). The result is something grandiose, brutal and darkened, but defined and every little detail can be heard without efforts (to such amounts of layers and details, it's something amazing to be done). And the cover and artwork are amazing creations of Francesco Esposito (artwork, photography) and Felicita Fiorini (artwork), who gave a visual referential frame for the listeners.

Ample and hard to understand at first hearing (but not to like), “Opera” was born from the pain that Francesco Paoli experienced after his injuries due a fall from Gran Sasso mountains in Abruzzo, Italy. He went through (at least) two surgeries, and doubts and pain about his career were a heavy burden that was turned into music and ‘reignited’ the band. This can be felt on each song of “Opera” lyrics.

Now, ladies and gentlemen, please take you seats and let’s speak about the songs.

“Ode to Art (De’ sepolcri)” is a fine introduction based on pianos and female and soprano vocals that creates a melancholic spark that ignites “I Can Never Die”, a brutal and technical maelstrom of Technical Death Metal fused with Classical and Neoclassical arrangements and melodies (the furious and technical blast beats of the drums and the strong bass playing gives the right support for the charming keyboards exhibitions and contrasts between the grunts and soprano choirs) with excellent catchy melodies. The following id the first Single of the album, “Pendulum”, a song filled with eerie ambiences, focused on a brutal and mainly Death Metal outfit, with grunts and excellent guitar riffs.

Charming piano parts introduces “Bloodclock”, another extremely violent moment, with lyrics depicts what Francesco felt on his recovering process, so it’s not hard to hear the depiction of hatred, pain, frustration and anger coming from the melodies and arrangements (what lovely keyboards parts tempering the brutal melodies of this one). And “At War with My Soul” follows the same tendency, with many Gothic Horror-like ambiences and melodies, but always built under a very good technical appeal (pay attention to the great guitars’ arrangements).

Chaotic ‘toccata and fugue’-like instrumental moments ignites “Morphine Waltz”, a Symphonic Death Metal song in the strict sense of the term, filled with excellent witch-like vocals and choirs contrasting with the haunting grunts of the vocals (but what rich keyboards and pianos arrangements. And “Matricide” is a more simple and accessible song (respecting the features of the band’s music), boosted by excellent guitars (the melodic leads are amazing), with technical bass and drums parts enriched by keys and pianos moments.

“Per Aspera ad Astra” (that means ‘through hardships to the stars’) is rich in melodic arrangements and Baroque musical elements adapted to a Symphonic/Technical Death Metal paradigm, always with the feeling of watching a theatre made of emotions created by the guitars and keyboards. And “Till Death Do Us Part” can be said as a romantic moment filled with melancholy, sadness and hope as well (where clean male and female moments laying on pianos and drums arrangements, and amazing melodic leads from the guitars), but with a different outfit for what a Symphonic Death Metal fan is used (and the reason for being a great song). And “Opera” is an instrumental moment (based on pianos) that comes to end this amazing chapter on the quintet’s history.

The meeting of classic arts with music always created great Metal moments, and “Opera” is one of them. And the album is really one of the best ones of this year, showing that FLESHGOD APOCALYPSE is here to amaze its fans, and to take the throne of the genre. A 10/10 isn’t enough to describe its beauty…

Lisetn to it: https://www.youtube.com/watch?v=N19kteW10VA