The Evolution of Metal: A Review of Fleshgod Apocalypse’s Groundbreaking ‘Opera’

Written By Tristan Cardinelli

o·pe·ra

noun

A dramatic work in one or more acts, set to music for singers and instrumentalists. A very grand program of opera and ballet.

Originating in Ancient Greece with deep roots in Italy, operas are a musical art form that tell stories through singing and can include many different types of operas, such as comedies, romances, and tragedies. Tragedies often end with the death of the protagonist(s), and operas can build to these deaths in many musical ways.

Founded in 2007 in Italy, Fleshgod Apocalypse swiftly rose to prominence in the symphonic death metal genre. They have released five highly praised albums and toured extensively across the globe.

Fleshgod Apocalypse’s new album Opera is dripping in decadent opulence. Listening to Opera, makes me feel like the Monopoly man sporting a top hat and monocle while grooving to each track. Let’s dive into this album review before I start planning my next move on Boardwalk.

Veronica Bordacchini’s operatic vocals bring a theater of emotions to every chapter of the album, offering diverse perspectives on Francesco Paoli’s story both musically and lyrically. Her voice masterfully conveys a range of emotions—love, drama, and tragedy. By integrating her vocals into their music, Fleshgod Apocalypse has broken new ground in death metal, pioneering a genre they’ve dubbed “opera metal.”

I must confess I had my doubts about what this album would sound like, but as soon as the first track, “Ode to Art” (De’ Sepolcri), began, I was captivated by Francesco Ferrini’s beautiful piano composition, his impressive string arrangements and orchestral effects. A theme repeated throughout the album. The song also features Veronica’s haunting vocals, which set the stage for the arrival of Paoli’s ferocious death metal growls and dramatic symphonic music. My excitement built as I eagerly anticipated the next track, “I Can Never Die.” I was not disappointed. Paoli’s vocals and lyrics conveyed an intense emotional depth that kept me hooked.

The third installment on this album, “Pendulum,” kicks off with a blistering guitar solo by Fabio Bartoletti that instantly grabs your attention. His technical skills and explosive riffs set the tone for an electrifying track, making it clear that this album is packed with standout moments.

“Bloodclock” initiates with a captivating blend of classical and folk influences, creating a rich, atmospheric introduction. This intriguing beginning seamlessly transitions into the band’s signature death metal style, combining intricate melodic elements with their trademark intensity and aggression.

As “At War With My Soul” commences, it evokes an operatic version of “Ave Satani” from The Omen, resembling a Satanic twist on a Gregorian chant with intense black mass vibes. Just 27 seconds in, you’re hit with a nuclear blast of hardcore, face-melting death metal as Paoli’s beastly roar blasts right through you. The effect is like being plunged into a dark, foreboding forest, where every shadow feels menacing and you’re gripped by an overwhelming sense of dread.

The song “Morphine Waltz” is aptly named, as its content is straightforwardly reflected in its title. The track hits you with a rapid tempo and intense energy. Fabio Bartoletti’s guitar work combines modern classical and progressive elements, resulting in a complex composition. This is further amplified by a symphony of chaos created by the dynamic dual vocals of Paoli and Bordacchini.

“Matricide” is a remarkably progressive track that starts with a dramatic, Phantom of the Opera-inspired flair. It then transitions smoothly through various genres, evolving into symphonic metal before diving into intense death metal. The song effortlessly cycles back to operatic elements, showcasing a masterful blend of styles that keeps listeners engaged and captivated throughout.

“Per Aspera Ad Astra” takes you on a tumultuous journey, with a roller coaster of emotions clearly conveyed through the band’s music. As the heaviest track on the album, it showcases the band’s signature death metal and operatic themes to their fullest extent. The song’s sheer power is undeniable, making it a standout moment on the record.

“Till Death Do Us Part” embarks on an epic journey through life-changing events and painful revelations. This powerful, masculine and feminine anthem is the kind of song that makes you want to hold up your lighter and sway with the audience, fully immersing yourself in its emotional intensity.

“I must highlight the talents of Eugene Ryabchenko, who throughout the album is the heartbeat of the band. His precise drumming and emphatic rhythms drive the entire album forward, much like a finely crafted timepiece.”

“As the final curtain call approaches, the lights dim. A figure in a hooded cloak crosses the stage and takes a seat at the piano. As he begins to play, the melody of the album’s title track, ‘Opera,’ unfolds with delicate notes that transition to a poignant conclusion. The performance conveys a deep sense of melancholy. As the song draws to a close, the man rises and removes his hood revealing Francesco Ferrini. The rest of the band join him and they take a bow. The crowd erupts in applause as the drapery falls.”

“This album exudes sophistication and cultured sound. The blend of brutal gutturals with operatic arias works remarkably well. It showcases the musical style we love about Fleshgod Apocalypse, while introducing something distinctly new. Paoli is raw, unapologetic, and vulnerable in this album, channeling his pain and fear into his art. In my opinion, it’s the band’s magnum opus.”

“The band is planning a tour to support this album. I highly recommend preordering the album and securing tickets to their live performance—it will definitely be worth it!”

Out August 23rd 2024! Preorder Opera Here:

Track Listing:
Ode to Art (De’ Sepolcri)
I Can Never Die Pendulum Bloodclock
At War With My Soul Morphine Waltz
Matricide
Per Aspera Ad Astra
Till Death Do Us Part
Opera

FLESHGOD APOCALYPSE, renowned Italian symphonic death metal pioneers, return with their highly anticipated sixth album titled “Opera”. This new release, set to debut on August 23 via Nuclear Blast Records, is deeply influenced by a tragic mountain-climbing incident involving their frontman Francesco Paoli in 2021.

“Opera” is structured like a 10-act theatrical piece, aligning with Italy’s rich classical music theater tradition while infusing the intense brutality of death and symphonic metal that defines their signature sound. Produced, mixed, and mastered by Grammy-nominated Jacob Hansen (known for his work with VOLBEAT, EPICA, ARCH ENEMY), the album signifies a significant progression for the band. It incorporates fresh elements into their distinctive blend, characterized by intense aggression, grand orchestrations, and soaring melodies.

The album’s artwork is equally ambitious, created by emerging Italian talents Felicita Fiorini and Francesco Esposito, drawing inspiration from baroque painters such as Caravaggio and Artemisia Gentileschi. The cover art portrays Veronica as Music, a transcendent force that combats the societal and artistic decay of the modern era.

While the world was realing at the onset of a worldwide pandemic in 2021 Fleshgod Apocalypse frontman Francesco Paoli rocked the metal community as we learned of his near fatal tragedy involving a mountain climbing accident. Uncertainty lingered as to what the future held for Fleshgod Apocalypse as Paoli underwent surgery, healing and years of painful physical rehabilitation.

In 2023, the band emerged back full-force once again commanding audiences on tours throughout Europe, with eyes set on their sixth and brand new album titled “Opera,” to be released this August 2024 and what can be described as their crowning achievement.

Paoli writes:

“The best stories always come from pain, it’s a bitter truth yet undeniable” says Francesco.

“That’s why human struggles have always been an unending source of inspiration for artists throughout history. But one thing is creating art that gives voice to someone else’s tribulations, another is accepting to bare your soul to the world and reveal your weaknesses and frailties, while attempting to turn them into new resources for your own creativity. It’s a dangerous game, since we never know what our twisted mind has in store for us, but it’s a game you must play if you really want to bring your art to the highest level and leave a trace that has a deeper meaning, not just mere entertainment for distracted people.

After my fall while mountain climbing, I woke up in a hospital, underwent several surgeries, constantly getting terrible news and spending many months not knowing if I would ever be able to play an instrument again. I felt condemned. Fear, painkillers, wheelchairs have been daily food for my frustration. Retracing what happened that day, as well as the days, months, years after, has been such an exhausting and frightening journey, in which I had to face my demons once again and deal with memories I hoped I had left behind.

Was all this worth it? Let the others tell. All I can say is that, although it was clear that this was the right thing to do, we could not even remotely imagine how strongly this process would have affected our songwriting, igniting our creativity and reinvigorating our attitude after years of deep coma due to the pandemic. We managed to turn one of the worst things in life into a work of art, that embodies our personal and artistic growth and takes the listeners on a rollercoaster of emotions, where they can experience what I’ve been through hand in hand with me. It’s a waking nightmare but that’s how life is sometimes, just scary.”

Francesco adds:

“In my visionary representation of this journey, that begins with my near death experience and culminates in a much desired physical and psychological rebirth, I wanted to frame every single step of my calvary, as if they were acts of an “Opera Lirica”, with dialogues or even confessions to imaginary characters, who have been constant presences throughout my whole (mis)adventure.

Death, Life, Hope are among these entities, masterfully interpreted by Veronica, that from time to time assist or prevent me from digging deeper in my memory and personality, examining objectively my emotional states and behaviors and finding a sense to all this.

This album tosses you in a vortex of discomfort and uncontrollable feelings, where you can experience pain, fear, desperation, anger, frustration, but also resolve, courage, hope and a profound desire for redemption.

In fact, besides being grateful for the privilege of sharing my personal experience through Fleshgod Apocalypse art, I strongly believe that this album is a solid manifest of resilience, and I hope that my story will inspire people who got “lost” for whatever reason. Since the accident I’ve been posting on socials about my rehab and received hundreds of messages of appreciation for that. People need motivation, need examples that can make them restart believing in themselves. And for me, this is part of the game, this is the best way I can give them something back after all these years of loving support.

Life is a wonderful thing, even when everything around us seems to be falling apart we must find a meaning for existing and, unexpectedly, sometimes second chances can be way more exciting than the first ones.”