Released: Feb , Nuclear Blast
Reviewer: Metal-Rules.com UK Team
Coming back with their newest album since 2013, Fleshgod Apocalypse give us the album simply entitled “King”. Although it may seem that the title (which once again is another one word title for the band) is simple, the music from this album is anything but for the listener.
Starting off with the usual pomp and circumstances of the intro track, Fleshgod wastes little to no time getting into it once the music truly gets going. Right away, it sets up the fact that for the album the listener is to expect quite a bit of fierce action from the death metal aspects, but plenty of symphonic elements to have it not go too overboard. This would be the continuous theme throughout the album and for Fleshgod, it’s a style they have crafted exceedingly well.
The death metal aspect is only really at a downfall when going from track to track. A good example is when In Aeternum ends, Healing Through War starts up right away with the same blasting tones. Having a small pause in between would have been nice, but it’s not a huge negative. Besides, this only happens for a few songs, as some have different styles altogether.
Case and point would be the songs Paramour (Die Leidenschaft Bringt Leiden) and King. Both tend to be purely symphonic as death metal is nowhere to be found. It surely caught me off guard to hear such songs, but I feel they helped the pacing of the album instead of it being all the same style throughout.
Even with the length of some of the songs, nothing wore out its welcome here. The entire album has plenty of good tracks to listen to and no track being terrible. It has a great combination of technical death playing along with symphonic elements to allow it to stand out from the pack.
What also helps this out is that it is once again a concept album. Although that’s nothing new for Fleshgod Apocalypse, this one does hit the concepts of seeing ideals such as justice, integrity and wisdom being slowly taken down by ignorance and mediocrity spreading everywhere. It’s a neat concept that plays out throughout the album and one that doesn’t hit you over the head either, allowing the listener to truly see it after multiple listens.
Of course, that is something I recommend for this album; giving it multiple listens. I found I was noticing things on each listen that weren’t there before. So the album rewards the listener for listening more and more, which is I feel is a true strength to this band and album.