Back in 2021, FLESHGOD APOCALYPSE frontman Francesco Paoli suffered a devastating rock climbing accident. He was badly injured and had a near-death experience. Instead of wallowing in self-pity, he used his incredible recovery journey as inspiration to create a masterful and grandiose new album titled “Opera.” This is the band’s fifth full-length record, out August 23rd, 2024, via Nuclear Blast Records.
When a symphonic death metal band like FLESHGOD APOCALYPSE calls its latest effort “Opera,” I expect great things, especially when that band is Italian, where opera practically runs in their veins. Add to that some seriously impressive cover art, and you’ve got all the ingredients for something epic. Fortunately, “Opera” does not disappoint. This tragic masterpiece might just be the most ambitious project the band has ever undertaken. FLESHGOD APOCALYPSE is known for their unique blend of violently heavy riffs, majestically melodious vocals, and extravagant orchestrations, all of which come together in an epic theatrical composition on “Opera.”
In an interview with our editor-in-chief, Francesco Paoli explained how his goal was to take the listener by the hand and lead them through his own grueling recovery process. The raw emotions behind the trauma he experienced were molded into tracks that are ocean-deep. The album’s opener, “Ode to Art (De’ Sepolcri),” begins with Francesco Ferrini’s monumental orchestral arrangements, which serve as a thoughtfully woven thread throughout the entire album. Most notably, Veronica Bordacchini’s soul-stirring voice, combined with Paoli’s ferocious growls, is utterly goosebump-inducing, especially as the first track puts her masterful soprano vocals in the well-deserved spotlight.
Then comes “I Can Never Die,” a fast-paced, aggressive track accompanied by soaring melodies—the signature sound that fans around the world have come to love. But there’s something different about their sound on this album that, at first, I couldn’t quite pinpoint. Then it hit me: “Opera” is the most technically advanced and intricately detailed effort the band has ever produced. I have to give a special shout-out to Eugene Ryabchenko, who is an absolute beast on the drums. His ability to maintain such an insane pace while paying meticulous attention to detail is nothing short of mind-blowing. The music video for “I Can Never Die” is a must-see; it’s like watching a mesmerizing painting come to life, sinister yet enchanting.
By the time the last notes of “Pendulum” echoed in my headphones, it was clear that the vocals on this album are out of this world. Bordacchini treats every line she sings like a piece of art, and she really shines on this record, which has been beautifully mixed and mastered by none other than Jacob Hansen (EPICA, ARCH ENEMY, VOLBEAT). The fourth track, “Bloodclock,” dives into near-death visions and the paralyzing realization that your worst fears can become reality. The fact that the band started writing immediately after Paoli left the hospital is reflected in the pure, essential darkness that flows through these songs. At times, it feels like you’re listening to someone’s worst nightmare unfold, but that’s exactly what FLESHGOD APOCALYPSE was going for.
“At War With My Soul,” with its blaring French horns, is dramatic and ominous, embodying anxiety as it makes you feel like something foul is lurking in the darkness, waiting to strike. Next up is “Morphine Waltz,” a complex and intense track featuring some awe-inspiring progressive guitar work by Fabio Bartoletti. Though Paoli and Bordacchini are polar opposites vocally, they combine to create beautiful chaos. This ode to an opiate drags us through the painful part of Paoli’s recovery, capturing the true nature of pain—a deeply personal experience that “Morphine Waltz” conveys with haunting accuracy.
“Matricide 8.21” adds to the eerie yet enchanting atmosphere that pervades the album. Bordacchini’s vocal control and versatility are simply astounding, and I’m in awe of how she has evolved from a guest vocalist on previous records to a star on “Opera.” “Per Aspera Ad” stands out as the most operatic track on the album—grotesque, brutal, yet deeply moving. The new elements FLESHGOD APOCALYPSE has integrated into their style seem to perfectly balance with their original concept.
The heavy ballad “Till Death Do Us Part” has a more mainstream feel than I’m used to from the band, but it works, packed as it is with emotional gravitas. The songwriting on this album is phenomenal, making me wonder if it will win over fans who lean more toward FLESHGOD’s brutal side. Finally, “Opera” closes with soothing piano notes, gently bringing the listener back down to earth after an intense journey.
“Opera” encapsulates the rollercoaster of emotions that comes with a terrifying ordeal. From the initial shock to the first signs of healing, this album walks you through it all. Tragedy has always inspired art, and this album is another perfect example of how beauty can blossom from pain. Death metal is a rich genre, but there’s no band quite like FLESHGOD APOCALYPSE. “Opera” goes above and beyond, setting a new standard for symphonic death metal and putting their innovative sound on the map. I’ve always dreamed of an extreme metal opera, and FLESHGOD APOCALYPSE has created the blueprint.
Tracklist
- Ode to Art (De’ Sepolcri)
- I Can Never Die
- Pendulum
- Bloodclock
- At War With My Soul
- Morphine Waltz
- Matricide 8.21
- Per Aspera Ad Astra
- Till Death Do Us Part
- Opera
Lineup
Francesco “Scythe” Paoli – Vocals, bass
Veronica “ValchiRea” Bordacchini – Vocals
Fabio Bartoletti – Guitar
Eugene Ryabchenko – Drums
Francesco Ferrini – Piano
Label
Nuclear Blast Records
