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Band Name Fleshgod Apocalypse
Album Name Labyrinth
Type Album
Released date 16 August 2013
Labels Nuclear Blast
Recorded at 16th Cellar Studios
Music StyleSymphonic Death
Members owning this album177


 Minotaur (the Wrath of Poseidon)
 Towards the Sun
 The Fall of Asterion
 Under Black Sails

Total playing time: 54:24

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Fleshgod Apocalypse

Review @ Metalhead108

25 September 2013

A Perfect Symphonic and Tech Death Whirlwind! A MUST LISTEN!

Symphonic Technical Death Metal masterminds, Fleshgod Apocalypse are back in 2013 for a third full-length entitled Labyrinth. I was anxious to see what they would come up with to follow up from their amazing 2011 release of Agony. They did not disappoint! They brought the most amazing combination of heart wrenching symphonic elements and head thrashing technical death elements. The execution of actually bringing these two different elements together is FLAWLESS in Labyrinth.

The main attraction in most Fleshgod Apocalypse material is the use of symphonic backgrounds and Opera like vocals that bring the listener to a dark but melodic place. Perhaps some of the best integration of these elements are in the track "Minotaur (Wrath of Poseidon)" and throughout all of the rest of the album. The small things the listener hears in the background really give this album a lot of dimension and character and isn't just a repeat from Agony. Ultimately, these elements are a result of the genius musicians that are behind this masterpiece. The musicianship of this album is ultimately the shining attribute in this album.

There is only one word I can use to describe the guitars in this album . . . BEAUTIFUL! A lot of the music itself isn't to crazy or so technical that the listener gets lost in the madness. It is so perfectly done that the listener can hear every bit of guitar and can fully comprehend the music being played. The guitars often add little harmonies in the solos, for example in the song "Elegy" and "Towards the Sun", the solo has these little harmonized riffs that really give the listener a full melodic sound. The bassist simply does his job and gives the overall sound a nice great body and in some parts gives the music that explosion that gives the listener an adrenaline rush that can only be matched by running into battle!

The drummer never ceases to amazing the hell out of me! Every single time he gets behind that drumset something amazing ends up happening. In every song he shows what he can do and really gives the music whatever beat of feel that is needed. Overall, the drums are stellar like in the past Fleshgod Apocalypse releases.

The vocals are really the same. However, that is not a negative thing by any means! Both the lead aggressive vocalist and the clean vocalist have an amazing talent to stretch the human boundaries of the voice and can really portray what they are trying to bring across. Another new element in this album is the use of a female Opera vocalist. This really brings yet another element to the music that makes it that dark and medieval type of sound that they are trying to portray.

If I haven't said it enough, THIS ALBUM IS AMAZING! Everyone in the metal community should at least give this album a listen. Italy is becoming more and more of a technical death metal breeding ground as the years progress. Fleshgod Apocalypse's 2013 release "Labyrinth" is nothing to simply look over. If you are a long time fan or just trying to get into them or you have no idea who they are, i highly recommend this album to everyone. I give this album a resounding 20/20!

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Crinn - 08 October 2013: good review man!
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Review @ VesselsOfBlood

22 December 2013

Theatrical Death Metal

Fleshgod Apocalypse formed in 2007 from Roma, Italy. Up to this point, the quintet has had two full-length records ("Oracles" and "Agony") and an EP entitled "Mafia" under their belts. These releases have already rose the band to high fame in the metal community for their destructive blend of fast-paced death metal and orchestral music. Naturally, because of this, the band's third full-length release "Labyrinth" would be heavily swarmed upon release in 2013.

The musicianship is not only as potent as ever, but it's also very well-utilized this time around. The vocalist's screams let out the same level of aggression as in previous records, and the Operatic choirs in the background actually do pile onto the album's sense of eerie. Sadly, the clean singing is also as distracting as ever, and because of how silly and forced it tends to sound, it does get in the way of the album's enjoyment whenever it shows. Thankfully, it isn't to the point where it becomes a total nuisance. The guitars do not have much to show for themselves, but that is possibly what the band was aiming for; it blends in quite nicely with the orchestra, and it is a bit of an interesting way of going about guitar work in this album.

Two of the greatest points where the band has improved are the drums and orchestra. While the drums continue with their incredibly speedy blast-beats, they actually have developed more substance; They have steadier paces and more true complexity to be an intriguing and very well done part of the band's musicianship. On top of that, the orchestral elements are placed much more strategically than before. As opposed to being just there, the violins, piano, and other aspects are used in a manner that generates a truly cinematic and grand atmosphere. Instead of sounding like an orchestra trying to keep up with rapid-fire death metal, they actually add to the music's violent drama, and that is certainly another area of vast improvement for this band.

Eyeconoclast guitarist Stefano Morabito (Also known as Saul) was the one in charge of the album's sound production, and his work certainly paid off. The mixing made the vocals and instruments sound very massive and resonant. Alongside the orchestra, it reinforces the dark, theatrical aura that the record intended to pull off. The production is definitely another plus to this album.

As expected from this renowned group, "Labyrinth" stays true to the band's staple fusion of symphonic and technical death metal. Unlike before, however, this album takes a somewhat different, if not better, approach to the formula. Instead of focusing on sheer velocity, the album leans more towards atmosphere, dynamic, and complexity, which is the album's greatest strength overall. In fact, "Minotaur: the Wrath of Poseidon" is definitely the record's largest highlight, and the ending title track is a slow piano outro that's just as ominous. On the other hand, though, the faster segments of the album do hold up as well. "Kingborn" is a powerful opener, and "Elegy" is particularly enjoyably chaotic. Unfortunately, the biggest problem with the record is that the music does get a little too repetitive and monotonous in the midst of its dramatic violence. Nonetheless, the songs are very decent overall.

As the follow-up to "Agony," this album is quite a strong improvement. As a stand-alone release, however, it's a very solid death metal specimen. It does get repetitive at times, and the clean vocals can be slightly grating, but those flaws are nicely outweighed. The musicianship is great, the production is quite phenomenal, and the songs are generally well-built. Fans of the older releases will want to get their hands on this, and symphonic death metal fans could probably take a liKing to it as well. "Labyrinth" may not exactly be A-grade material, but it's certainly great to see the band taKing a step in the right direction.

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