Fleshgod Apocalypse Albums Ranked

Fleshgod Apocalypse is an Italian symphonic death metal band. Formed in 2007, the group resides in Perugia and is currently signed to Nuclear Blast. They have released five full-length albums, most recently Veleno in 2019. Fleshgod Apocalypse was formed in April 2007 by Francesco Paoli (formerly frontman of the band Hour of Penance). They recorded their first demo, Promo ’07, at 16th Cellar Studio, in Rome, with producer Stefano “Saul” Morabito, releasing it shortly after. The demo was re-released the following year on a split CD with fellow Italian bands Septycal Gorge, Modus Delicti, and Onirik. Fleshgod Apocalypse then signed to Neurotic Records. In early 2008 the band toured Europe, supporting bands like Behemoth, Origin, Dying Fetus, Hate Eternal, Suffocation, Napalm Death, and many more. Here are all of Fleshgod Apocalypse albums ranked.

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5. Oracles (2009)

“This is the best generic modern death metal album ever. When I say generic, I’m not talking about songwriting – something this band are masters of, the compositions here really hold your attention. I mean their style, they’re not unique in the least and instead sound like an unimaginative mishmash of modern death metal tropes (I emphasize modern as there are pretty much no pre-00s influences to be found here) – take the brutality of Behemoth or modern Suffocation, some melodic riffing you might hear in the likes of Black Dahlia Murder, neoclassical tech stuff you hear in every remotely technical death metal band these days, and some classical interludes doing some big bombast shit at the end of the tracks.”

4. Labyrinth (2013)

“The sound hasn’t changed much from Agony, the point where the band decided they were going to be strongly operatic and symphonic. In Labyrinth, the operatic female vocals are maybe better incorporated and not so dominating. The piano and symphonic elements really shine through in this album, becoming almost as technically impressive as the drums. It’s unusual to hear horns now part of this, for the full symphonic experience, not just the usual strings section. Surprisingly it works quite well, making the whole thing much more dramatic.”

3. Agony (2011)

“The pervasive symphonic elements aren’t really particularly original or interesting, though I do think they generally feel integral as opposed to gimmicky and enhance the metal compositions beyond what they would be without. But ultimately what I find far more interesting about Fleshgod on Agony is the way they so effectively weave power metal influence (including the obligatory ridiculously high-pitched pseudo-operatic clean vocals) into the constant barrage of tremolo-picked death metal. Come to think of it, that riffing style contributes to the fact that it’s also somewhat “blackened.” It is this relative wealth of metal subgenre blending, and the particularly fluent execution thereof, that I find the most engaging.”

2. Veleno (2019)

“After a massive line-up change, its time to see what the remaining trio created from the ashes of a couple of chaothic & bombastic records that havent had the same impact & catchiness of “Agony” on fanbase & media.
In this sense, “Veleno” is the most varied, catchy (but not immediate) & slow / dynamic Fleshgod Apocalypse album yet. The symphonic side isnt intrusive no more but essential & effective, the distinctive & technical riffing -partially rediscovered on “King” – is now back to a main role & some songs also offer the pleasure of emotional & epic climaxes.”

1. King (2016)

“The album is super orchestral centered, with massively heavy and often chuggy Death Metal riffs and some impressive Neo-Classical-ish shredding, they always make me think of a Death Metal version of Rhapsody. The typical deep and sometimes indecipherable death growls as well as their nice clean high pitched vocals are both present here, along with some female soprano vocals and the drumming is much more varied than in the past, instead of being just blast beats non-stop. My biggest problem with the album is I’d like more Tech-Death riffing, more flashy lead playing and a bit more variety in the songwriting and less chuggs.”