The chorus of Matricide 8.21, the seventh song on Fleshgod Apocalypse’s sixth album, sees frontman Francesco Paoli sing an affectionate apology to his mum. ‘Sorry for making you pray for me! Mother, forgive me!’ the vocalist/bassist begs. It’s a surprising outpouring of emotion from a symphonic death metal band that has preferred blastbeating, string-stacked aggression to any hint of vulnerability.
However, the past three years have been profound for the singer. He had a near-death experience in 2021, when he slipped while climbing and dangled upside-down from a cliff, tied up in his own ropes. It necessitated nerve transfer surgery, with much of this album – a concept piece about the fall and subsequent recuperation – being written by Francesco in his bed.
Opera is Fleshgod Apocalypse’s most engrossing work lyrically and thematically, and that depth is accompanied by the most interesting music of their career. The Italians are still bombastic, as evidenced by the stampeding percussion, blaring horns and flurrying piano throughout Morphine Waltz.
Yet melody and songcraft are the greater priorities. Opera singer Veronica Bordacchini steps up to co-lead vocals, taking charge during the chorus of opener proper I Can Never Die and making it a commanding singalong. She later steers the downtempo verses of Till Death Do Us Part into hitherto unexplored sweetness.
Lyrically, too, Francesco explores new territory. Where Matricide 8.21 confesses guilt over terrifying his family, Bloodclock reveals the haunting details of his visions while hanging, and Per Aspera Ad Astra declares his determination to make a full recovery.
In the past, seeking work this poetic from Fleshgod Apocalypse was the equivalent of trying to find caviar on a McDonald’s menu. Now, though, they have exposed the humanity beneath their bluster – and have never sounded better.
Opera is out August 23 via Nuclear Blast.
