It’s no secret that Italy’s symphonic/technical death metal band Fleshgod Apocalypse are undoubtedly speaking, my favorite band of all time. As someone who’s followed them since Agony, I have enjoyed every album by these amazing, talented and creativity musicians. Veleno is the latest chapter and marks the first album to not feature longtime vocalist Tommaso Riccardi who left around 2017 and marked the return of their original vocalist Francesco Paoli whom may best known his work as the drummer from Fleshgod Apocalypse and also served his time with Hour of Penance.

Three years after 2016’s beautifully written album from King, Veleno is quite possibly Fleshgod Apocalypse’s heaviest, darkest and well written albums they’ve ever done since Agony. Veleno is authentic, thought-provoking, brutal and contains amazing symphonic elements at same time. They managed symphonic death metal while keeping focus of technicality roots approaching a straightforward death metal fundamentals which isn’t something most artists attempt achieving. The well incorporating musicality of guitar role adding classical components adds natural touches to death metal assault that past releases and Veleno offered.

These compositions of duo guitars fusing together providing rhythm and throwing melodies borrows a Mozart, Wagner or Dvorak influenced sound works flawlessly. Vocals are typical perfectly executed essential growls with occasional rasped sometimes layered and organic presences of precise female singing alongside clean vocals really brings a fresh dynamic to Fleshgod’s sound. Drumming throws a balls to the wall sound while bridges concentrates the recording and prominent production giving these title tracks thick, rich complex structures of unrelenting chaos finishes the packed and phenomenal musicianship Fleshgod Apocalypse created.

Tracks including Carnivorous Lamb, Worship and Forget,Fury and Pissing on the Score sets the tone of chanting monasteries having self-contained piano arrangements makes curtains falling down on stage. This gathers hypothetical and melodic reversible fine walking down on memory lane dominance overpowers beautifully crafted, disheartening tendencies intermittently sprinkle a theatrical orchestrated pieces sets a representation so frenzied that the album truly sinks my own paintings. Perhaps the biggest highlight for me is that not only Fleshgod Apocalypse are my favorite band but they surely know how to create a varied passageway throughout classical, technical and symphonic metal work appropriately. This is easily Fleshgod Apocalypse’s best release since Agony and I’m glad they’ve decided to return to form from Oracles but in a much more heavier route this time around.


Overall Score: 9.5/10

Review by Jake Butler



We are an extreme metal site that focuses on reviews and interviews with bands all over the world! The more obscure, unknown and different, the better!

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