VELENO Black Vinyl

*Black double vinyl in gatefold*

Italian grandmasters of orchestral death metal FLESHGOD APOCALYPSE are finding spontaneity rewarding on new album, »Veleno«. Over the past four albums - previous album, »King« (2016), floored fans and critics alike - the Francesco Paoli-led trio have planned every step, discussed every note, and ensured every salutation to Paganini, Bach, and Mozart was met with an equally brutal death metal equivalent. On »Veleno«, which is Italian for ‘venom,’ they needed a change of approach (and pace). To achieve this, FLESHGOD APOCALYPSE distanced themselves from distraction - line-up changes, tours, and the frustrations of day-to-day life - unboxed the songwriting process, and let the inspiration flow freely. On »Veleno«, they’ve matured, blended more efficiently their musical vision, and walked away with 11 songs that sound like a new band with an unsatiable prey drive.

With the best possible production job, real orchestral ensembles - a full string quartet, a classical percussionist, and a baroque choir were part of the process - and guest musicians in the shape of Maurizio Cardullo (FOLKSTONE) and Daniele Marinelli playing uilleann pipes and mandolin, respectively, »Veleno« is FLESHGOD APOCALYPSE’s masterwork. From the tense opening barrage of 'Fury' through the scenic vistas of 'Monnalisa' to the brooding if heroic 'Embrace The Oblivion,' »Veleno« encompasses the greatness of the albums prior but opens up whole new opportunities - sonic and aesthetic - for FLESHGOD APOCALYPSE. In fact, it’s an album that will have dedicated fans frothing ('Worship And Forget,' 'Carnivorous Lamb') to evangelize FLESHGOD APOCALYPSE to new hordes, while introducing critics to the group’s now-fully realized score-like qualities ('The Day We’ll Be Gone,' 'Monnalisa').

As for what’s next, FLESHGOD APOCALYPSE are beyond excited that »Veleno« isn’t just their best album to date but that it’s a paradigm shift for the Italians. That it includes a multi-faceted lyrical concept, direct (and important) cultural ties to their home country, and a deeply symbolic cover painting by Travis Smith (OPETH, OVERKILL) form a splendid coda, the likes of which have yet to be experienced on a FLESHGOD APOCALYPSE album.