FLESHGOD APOCALYPSE – “Opera” (2024)

There are some albums that draw you from the first second you encounter them. I already knew what FLESHGOD APOCALYPSE were capable of, even if their technical Death Metal was too much for me at times. But since I love everything symphonic and with the band being total masters in that area, I always check out their new works. What raised my anticipation to extreme limits, was the cover art that is fantastic, winks at something grand and is one of the best I have seen recently. Combine it with the title, I expected something very majestic and by the time I was done listening to the entire album, all that promise was materialized in the best possible way. 

Let’s take a step back to see where we are. Fifteen years have passed since the debut “Oracles” and “Opera” is the sixth full length entry. While others persist in replicating formulas, the case is different here with the band not fearing making changes, as bassist Paolo Rossi is stepping down from the clean vocals and Veronica Bordacchini being made a permanent lead vocalist thus being responsible for a big portion of the vocals. A welcome and fitting choice if you ask me. 

About the outcome, well, I simply cannot describe with words the magnificence of the music but I will give it a shot. As hinted by the operatic intro, the album leans greatly on the expression of the feeling that you are in a grand opera house experiencing a captivating performance. Of course this opera house is located in Hell, as there is an abundance of Death Metal, yet this time there is more room for melodies, the speed is not always out of control. I love that since it makes the album more approachable to people like me, who come from a Power/Symphonic background. 

The variety is impeccable as well. ‘I can never die’ has a chorus that if isolated it could easily win the Eurovision contest. ‘At war with my soul’ has operatic segments that could not get any more majestic, Veronica’s performance in ‘Matricide 8.21’ is enchanting and mysterious, while ‘Morphine Waltz’ is a hellish Tarantella, a roller coaster without breaks. There group excels in slower songs as well with ‘Till death do us apart’ proving that point and when even the closing piano instrumental will have you nailed at your seat, I believe the result could not get any better. The flawless production allows all those ingredients to shine and considering how many layers there are at any given time, it is something to congratulate. 

“Opera” is one of those records that may resonate with some people and not to others, as let’s not forget its aggresiveness is not for everyone, but for those who indeed like this approach, you cannot find something that could be done better. It blends two worlds in a masterful way, resulting in a brutal result that is simultaneously very alluring and magical. I view this album as the ultimate expression of art as the whole package from artwork to music is clearly created meticulously and with love. I am not saying these things as a Death Metal fan because I am not, so if you are, take this opinion with a grain of salt. But as someone who has scratched the bottom of the barrel when it comes to Symphonic Metal, FLESHGOD APOCALYPSE delivered one of the best results I have ever experienced. 

94/100

Pavlos Pavlakis