Symphonic/technical death metal
Released: 5th February 2016
Via Nuclear Blast
The more I listen to Fleshgod Apocalypse, the more I realize that those who say that mixing classical music with death metal is a bad idea, they’re just speaking based on their personal musical taste; in truth, whether you like the outcome or not, such mix is brilliant. The splendor of the former contrasting with the brutality of the latter, but the intensity and overwork that both share? What’s there not to love?
Now that we’re clear on where I stand regarding the genre, it really comes as no surprise how high I’ll praise this “King”. Fleshgod Apocalypse just nailed every aspect of the so-called symphonic/technical death metal. In case you missed the promotional single “The Fool”, go and listen to how those medieval piano keys interweave so fittingly with the shredding rhythm of the rest of the instruments. And then check out the sinister tone of “Cold As Perfection” and “Gravity”. And also the epic symphony of “And The Vulture Beholds” or “A Million Deaths”. Sure, we could live without the operatic “Paramour (Die Leidenshaft Bringt Leiden)”, where Veronica Bordacchini takes the lead, and the instrumental title-track. But both add an exotic touch to the whole package. Saying “King” is Fleshgod Apocalypse’s best album might be debatable, so I’ll settle with “the most consistent”.
Renata “Pieni” Lino