Fleshgod Apocalypse – Opera (Nuclear Blast)

Ever since their beginnings, Fleshgod Apocalypse have been synonymous with two things: speed and an epic sound. While the band has definitely changes some things around over the years, particularly on their last album, Veleno, they have always swore an oath to those two components. Opera, after Paolo Rossi’s departure and Francesco Paoli’s accident, does see the band continue to evolve. Sometimes in ways that some of the uber-elite probably won’t like (which is honestly fair, given the band’s starting point). But it’s clear that the classical metal fusion that started the band off is still present, even if it’s taking different shades of direction on Opera.

All but defining themselves years ago with “The Violation,” Fleshgod Apocalypse continue down waters that fuse neoclassical elements with their own penchant for brutal, metal acceleration and darkness. “I Can Never Die” is a potent, blastbeat-riddled start to the album that should but reassure anyone who thought Paoli’s accident might impact the band’s tempos. Eugene Ryabchenko provides a militant battery that the band only occasionally relents into grooves from as the orchestral elements swell around them. Veronica Bordacchini, promoted from soprano vocals to all cleans, seems to revel in her expanded role within the group, finding time to belt out some potent and thrilling lines amid the high-octane madness. “Bloodclock” raises the heartrate and BPMs again in the same twisted way, complete with orchestral accompaniment and chaotic riffing structures, only pausing for a melodic moment from Bordacchini, which works to break things up before a graceful solo.

But it’s not all blastbeats and strings for Fleshgod either, nor has it always. But these other cuts get more experimental than they have in the past. “At War With My Soul” provides a bludgeoning groove that seems to swagger with dominance in mind, and sits apart from the other songs with it’s war-like march. “Morphine Waltz” has that ‘classic Fleshgod” spirit of technicality and daunting speed runs, but Bordacchini takes more of a forward step in her role, leading the verses in an oddly uber-catchy arrangement that some may cry afoul as ‘mainstream’ but wow does it fit the track to a tea with it’s playful virtuosity and unhinged fury. If there’s one small misstep, it’s “Til Death Do Us Part,” which acts almost akin to a ballad to close the album (minus the instrumental title track). It’s not a bad song by any means, but it seems to remove all of the aforementioned energy out of the band’s system and ends the album on more of a whimper than a bang. Especially given the thrills of “Per Aspera Ad Astra,” that precede it.

Despite some shake-ups in between albums, Fleshgod Apocalypse come out just as guns-blazing and chaotic as they have ever been. Opera does see them explore some new sonic territory, for mostly the better, and it’s clear they are out to push the boundaries of their symphonic template every way that they can. Better to be hungry than go stagnant after all.