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Fleshgod Apocalypse

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New album Opera out now!

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Upcoming concerts (25) See all

FLESHGOD APOCALYPSE & SHADOW OF INTENT - THE BLACK OPERA

The Castle Theatre

The Opera House

The Brass Monkey

Baltimore Soundstage

View all upcoming concerts 25

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As a death metal band, Fleshgod Apocalypse have a style which is nothing short of theatrical. No, operatic. Their performances are lavish, experimental and, above all, entertaining. The group performs to arenas full of fans looking for a memorable night, and this band certainly doesn’t disappoint.

Smoke jets, masked support singers, aging pianos and antiquated costumes all add a gothic creepiness to Fleshgod Apocalypse’s intense sound, but it in no way detracts from the band’s main draw: their music. Just one listen to their songs and you can tell that this band has worked hard to perfect their specific sound and the music they make. In fact, Fleshgod Apocalypse was brave enough to leave their first record label before the release of any major work because they wanted to grow and maintain their artistic integrity as a band.

A Fleshgod Apocalypse show delivers entertainment left, right and centre. Their setups are attention grabbing and their performances show-stopping. At a recent show they opened with “The Hypocrissy” and the audience looked like they were about to self-combust; such is the effect of Fleshgod Apocalypse on their fans. If you like death metal, you’ll love Fleshgod Apocalypse – I recommend that you catch them live soon.

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The band played amazing, its a really good band, enjoyed a lot! About the venue, well, isnt my first time there, the place is a bit too small, next week i'm going to amon amarth and i'm wondering how full is gonna be ( sold out!!!) . The bad point was the male toilet, not working, really bad because in the middle of the show you need to go outside and deal with the security guards at world's end, that guys are disgusting, they make waste my time, arguing because of my troussers. What the fuck? I work in camden, live in camden and the guy at the front piss me off because i was using sports troussers... Seriously? The owner should be more worried with the people sniffing inside the place than worried with me and my adidas troussers, that doesnt have any sense.

Fleshgod Apocalypse was very theatrical, and were working hard to put on a great show. Was not expecting a circle pit or wall of death! They were very tight, and considering they have three singers, everything was close to note for note.

The sound at the Crowbar was okay, not great, not terrible, but that isn't the band's fault (the sound guy was failing, there was feedback a couple of times). All in all it was a very solid performance.

Absolutely amazing! Flawless, brutal, generous and mind-bending! You have to see them live - do not miss them when they tour near you! What more can be said - youtube them now - get acquainted, keep an eye out for their next dates, book early.

Terrific show last night at SF's Social Hall. My son and I both were looking forward to finally seeing FG live, as King has been our favorite album since its release, and they really, really did not disappoint. Great merch, too!

Posters (72)

Past concerts

Into The Grave

Gershwin Room, The Esplanade Hotel (Espy)

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Fleshgod Apocalypse tour dates and tickets 2024-2025 near you

Want to see Fleshgod Apocalypse in concert? Find information on all of Fleshgod Apocalypse’s upcoming concerts, tour dates and ticket information for 2024-2025.

Fleshgod Apocalypse is not due to play near your location currently - but they are scheduled to play 25 concerts across 2 countries in 2024-2025. View all concerts.

Next 3 concerts:

• Cleveland, OH, US
• Chicago, IL, US
• Bloomington, IL, US

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Concerts played in 2024:

Touring history

Most played:

• Los Angeles (LA) (15)
• London (14)
• Toronto (12)
• Vienna (11)
• Berlin (11)

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• Kataklysm (80)
• The Black Dahlia Murder (74)
• Carach Angren (64)
• Decrepit Birth (63)
• Decapitated (63)

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FLESHGOD APOCALYPSE Announces Summer/Fall 2024 North American Tour With SHADOW OF INTENT

Italian symphonic death metal maestros FLESHGOD APOCALYPSE has announced a return to North America in support of their upcoming sixth studio album, "Opera" . The co-headline tour with SHADOW OF INTENT and support acts INGESTED , THE ZENITH PASSAGE and DISEMBODIED TYRANT will kicks off September 14 in Cleveland, Ohio and wrap on October 15 in Denver, Colorado.

Commenting on the tour, FLESHGOD APOCALYPSE frontman Francesco Paoli states: "We're overly excited to announce the ultimate extreme symphonic metal experience across North America, which we'll have the honor to headline along with our longtime friends SHADOW OF INTENT . It's going to be an event you don't want to miss, with the best clubs, a top-notch line-up and our most spectacular show to date. We can't wait to play some brand new material from our upcoming album, 'Opera' , for you all, so grab your tickets as soon as you can because they won't last long. The worldwide 'Opera' madness has just begun."

Tickets go on sale on Friday, June 28 at 9 a.m. local time.

Tour dates:

Sep. 14 - Cleveland, OH - House of Blues Sep. 15 - Chicago, IL - Metro Sep. 16 - Bloomington, IL - The Castle Theatre Sep. 18 - Detroit, MI - Saint Andrew's Hall Sep. 19 - Toronto, ON - The Opera House Sep. 20 - Montreal, QC - L'Olympia Sep. 21 - Ottawa, ON - Brass Monkey Sep. 22 - Worcester, MA - New England Metal and Hardcore Festival Sep. 23 - Brooklyn, NY - Warsaw Sep. 25 - Reading, PA - Reverb Sep. 26 - Baltimore, MD - Baltimore Soundstage Sep. 27 - Charlotte, NC - The Underground Sep. 28 - North Myrtle Beach, SC - House of Blues Sep. 29 - Tampa, FL - The Orpheum Oct. 01 - Austin, TX - Come And Take It Live Oct. 02 - San Antonio, TX - Paper Tiger Oct. 03 - Dallas, TX - Granada Theater Oct. 04 - Oklahoma City, OK - Diamond Ballroom Oct. 05 - Albuquerque, NM - Sunshine Theater Oct. 06 - Mesa, AZ - The Nile Theater Oct. 08 - San Francisco, CA - DNA Lounge Oct. 09 - Sacramento, CA - Ace of Spades Oct. 10 - San Diego, CA - House of Blues Oct. 11 - Riverside, CA - Riverside Municipal Auditorium Oct. 12 - Las Vegas, NV - House of Blues Oct. 13 - Salt Lake City, UT - Metro Music Hall Oct. 15 - Denver, CO - Ogden Theatre

Due out August 23 via Nuclear Blast Records , the whole "Opera" album is structured like a 10-act theatrical piece, as the title itself draws a clear thread with the everlasting tradition of Italian classical music theater combining it with the epic brutality of death and symphonic metal, which has become their trademark sound. Mixed and mastered by Grammy -nominated producer Jacob Hansen ( VOLBEAT , EPICA , ARCH ENEMY ), "Opera" definitely marks another step forward for the band, incorporating new suggestions into that unique blend that FLESHGOD APOCALYPSE are renowned for: sheer violence, majestic orchestrations and soaring melodies. Such an ambitious musical endeavor called for an equally impressive artwork, a team effort between two arising Italian talents (artist extraordinaire Felicita Fiorini and visionary photographer Francesco Esposito ),following the path traced by baroque painters like Caravaggio and Artemisia Gentileschi . The cover art portrays Veronica as Music , a superior entity that defeats the social and artistic decay of modern age.

With this new record, FLESHGOD APOCALYPSE are setting the bar even higher than before, pioneering what looks like a completely new sub-genre that might be called "opera metal": an unprecedented mix of extreme music and theatrical elements.

"The best stories always come from pain, it's a bitter truth yet undeniable." Francesco Paoli states. "We managed to turn one of the worst things in life into a work of art, that embodies our personal and artistic growth and takes the listeners on a rollercoaster of emotions, where they can experience what I've been through hand in hand with me. It's a waking nightmare but that's how life is sometimes, just scary."

Francesco Paoli continues: "In my visionary representation of this journey that begins with my near death experience and culminates in a much desired physical and psychological rebirth, I wanted to frame every single step of my calvary, as if they were acts of an 'Opera Lirica', with dialogues or even confessions to imaginary characters, who have been constant presences throughout my whole (mis)adventure.

"This album tosses you in a vortex of discomfort and uncontrollable feelings, where you can experience pain, fear, desperation, anger, frustration, but also resolve, courage, hope and a profound desire for redemption. I strongly believe that this album is a solid manifest of resilience, and I hope that my story will inspire people who got 'lost' for whatever reason.

"We can't wait for you to hear the full album and play it live at the four corners of the world. We're planning to take everyone to 'Opera' with a massive new show, so get ready!"

With the album's announcement came the new single "Bloodclock" , a roaring song seething with anguish, pain and visionary tales of life and death.

Francesco Paoli says of the new song: "What do we see right before we die? Well, with 'Bloodclock' I bear my witness and reveal the personal visions I had while hanging on a rope, unconscious, a few hundred meters above the ground. It's insane how reality can be much more terrifying and soul crushing than imagination.

"Soon after my discharge from the hospital, me and Francesco Ferrini started writing immediately, even if I was still bedridden and unable to play. The idea was to capture the mood of those dramatic days and make sure to keep intact the sense of desperation and fear that was still running through my veins after the accident. Later on, we worked with the others to develop those ideas and create the music that such a strong story deserves, music that takes your breath away and tosses you into a vortex of mixed feelings and discomfort. I believe we nailed it 110%.

"And the video is a spectacular representation of that disaster. I pushed Martina ( McLean , video director) to the limit because I knew she could find a poetic, metaphorical yet extremely impactful way to match the fury of the song with awe-inspiring images. She did an amazing job and we're proud to state that this is the best music video we've ever had in our career.

"But this song is not only about death, it's also about life. 'I'm not dead yet' was some sort of mantra that became my battle-cry. The moment I woke up, I started my war to stay alive, that with time turned into a true and never-ending calvary as I'm still carrying the cross for what happened that day. But this is another story and its time is yet to come…"

Photo credit: Francesco Esposito

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Fleshgod Apocalypse announce fall 2024 North American Tour

by Zenae Zukowski | Jun 26, 2024 | Touring | 0 comments

Italian symphonic death metal masters Fleshgod Apocalypse are set to release their highly anticipated sixth studio album , Opera , on August 23 via Nuclear Blast Records. To support the release, the band will embark on a North American co-headline tour with Shadow of Intent, featuring support from Ingested, The Zenith Passage, and Disembodied Tyrant. The tour begins on September 14 in Cleveland, OH, and concludes on October 15 in Denver, CO. Tickets will go on sale with an artist presale starting Wednesday, June 26 at 9 am PST / 12 pm EST, a local presale on Thursday, June 27 at 9 am local time, and general on sale on Friday, June 28 at 9 am local time.

Francesco Paoli comments:

“We’re overly excited to announce the ultimate extreme symphonic metal experience across North America, which we’ll have the honor to headline along with our long-time friends Shadow of Intent. It’s going to be an event you don’t want to miss, with the best clubs, a top-notch line-up and our most spectacular show to date. We can’t wait to play some brand new material from our upcoming album “Opera” for you all, so grab your tickets as soon as you can because they won’t last long. The worldwide Opera madness has just begun…”

Tour Dates:

09/14 Cleveland, OH @ House of Blues 09/15 Chicago, IL @ Metro 09/16 Bloomington, IL @ The Castle Theatre 09/18 Detroit, MI @ Saint Andrew’s Hall 09/19 Toronto, ON @ The Opera House 09/20 Montreal, QC @ L’Olympia 09/21 Ottawa, ON @ Brass Monkey 09/22 Worcester, MA @ New England Metal and Hardcore Festival 09/23 Brooklyn, NY @ Warsaw 09/25 Reading, PA @ Reverb 09/26 Baltimore, MD @ Baltimore Soundstage 09/27 Charlotte, NC @ The Underground 09/28 North Myrtle Beach, SC @ House of Blues 09/29 Tampa, FL @ The Orpheum 10/01 Austin, TX @ Come And Take It Live 10/02 San Antonio, TX @ Paper Tiger 10/03 Dallas, TX @ Granada Theater 10/04 Oklahoma City, OK @ Diamond Ballroom 10/05 Albuquerque, NM @ Sunshine Theater 10/06 Mesa, AZ @ The Nile Theater 10/08 San Francisco, CA @ DNA Lounge 10/09 Sacramento, CA @ Ace of Spades 10/10 San Diego, CA @ House of Blues 10/11 Riverside, CA @ Riverside Municipal Auditorium 10/12 Las Vegas, NV @ House of Blues 10/13 Salt Lake City, UT @ Metro Music Hall 10/15 Denver, CO @ Ogden Theatre

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FLESHGOD APOCALYPSE Announces North American Tour Feat. SHADOW OF INTENT & More

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Italian Symphonic Death Metal maestros FLESHGOD APOCALYPSE just revealed their long-awaited 6th studio album, Opera , will be released August 23rd with Nuclear Blast Records . Now, the band has announced their return to North America in support of the impending release for a co-headline tour with SHADOW OF INTENT, and support acts INGESTED , THE ZENITH PASSAGE and DISEMBODIED TYRANT , which kicks off September 14th in Cleveland, OH and wraps on October 15th in Denver, CO.

Commenting on the tour frontman Francesco Paoli states: “We’re overly excited to announce the ultimate extreme symphonic metal experience across North America, which we’ll have the honor to headline along with our long-time friends Shadow of Intent. It’s going to be an event you don’t want to miss, with the best clubs, a top-notch line-up and our most spectacular show to date. We can’t wait to play some brand new material from our upcoming album Opera for you all, so grab your tickets as soon as you can because they won’t last long. The worldwide Opera madness has just begun…”

Artist Presale: Wednesday June 26 @ 9am PST / 12pm EST Local Presale: Thursday June 27 @ 9am LOCAL General On Sale: Friday June 28 @ 9am LOCAL Purchase tickets at https://bnds.us/8idszb

FLESHGOD APOCALYPSE Tour Dates: 9/14 – Cleveland, OH – House of Blues 9/15 – Chicago, IL – Metro 9/16 – Bloomington, IL – The Castle Theatre 9/18 – Detroit, MI – Saint Andrew’s Hall 9/19 – Toronto, ON – The Opera House 9/20 – Montreal, QC – L’Olympia 9/21 – Ottawa, ON – Brass Monkey 9/22 – Worcester, MA – New England Metal and Hardcore Festival 9/23 – Brooklyn, NY – Warsaw 9/25 – Reading, PA – Reverb 9/26 – Baltimore, MD – Baltimore Soundstage 9/27 – Charlotte, NC – The Underground 9/28 – North Myrtle Beach, SC – House of Blues 9/29 – Tampa, FL – The Orpheum 10/01 – Austin, TX – Come And Take It Live 10/02 – San Antonio, TX – Paper Tiger 10/03 – Dallas, TX – Granada Theater 10/04 – Oklahoma City, OK – Diamond Ballroom 10/05 – Albuquerque, NM – Sunshine Theater 10/06 – Mesa, AZ – The Nile Theater 10/08 – San Francisco, CA – DNA Lounge 10/09 – Sacramento, CA – Ace of Spades 10/10 – San Diego, CA – House of Blues 10/11 – Riverside, CA – Riverside Municipal Auditorium 10/12 – Las Vegas, NV – House of Blues 10/13 – Salt Lake City, UT – Metro Music Hall 10/15 – Denver, CO – Ogden Theatre

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Fleshgod Apocalypse

All upcoming events.

House of Blues Cleveland | Cleveland, OH

Fleshgod apocalypse & shadow of intent - the black opera 2024.

• Foundation Room Access - Fleshgod Apocalypse - Not a Concert Ticket**

Saint Andrew's Hall | Detroit, MI

Fleshgod apocalypse & shadow of intent -the black opera 2024.

• Fast Lane Access - Fleshgod Apocalypse - Not a Concert Ticket
• Balcony Upgrade - Fleshgod Apocalypse - Not a Concert Ticket

The Opera House | Toronto, ON

Fleshgod apocalypse & shadow of intent, l'olympia | montreal, qc.

Warsaw | Brooklyn, NY

St. vitus presents: fleshgod apocalypse & shadow of intent, reverb | reading, pa, fleshgod apocalypse / shadow of intent, baltimore soundstage | baltimore, md, fleshgod apocalypse & shadow of intent the black opera across usa, the underground | charlotte, nc.

• Underground VIP Parking - Shadow of Intent - NOT A CONCERT TICKET
• VIP Club Access - Shadow of Intent - Not a Concert Ticket**
• Fast Lane Access - Shadow of Intent - Not a Concert Ticket
• Pre-Show Pass - Shadow of Intent - Not a Concert Ticket
• Underground Meal Package - Shadow of Intent - NOT A CONCERT TICKET

House of Blues Myrtle Beach | North Myrtle Beach, SC

• VIP Club Access - Fleshgod Apocalypse - Not a Concert Ticket - 4PM

Ace of Spades | Sacramento, CA

Fleshgod apocalypse & shadow of intent the black opera across na 2024.

• Fast Lane Access -FLESHGOD APOCALYPSE & SHADOW O- Not a Concert Ticket
• Coat and Merch Check- FLESHGOD APOCALYPSE & SHAD- Not a Concert Ticket

House of Blues San Diego | San Diego, CA

Riverside municipal auditorium | riverside, ca.

• VIP Club Access - FLESHGOD APOCALYPSE - Not a Concert Ticket
• Patio Pre-Party Access - FLESHGOD APOCALYPSE - Not a Concert Ticket

House of Blues Las Vegas | Las Vegas, NV

• HOB FDR VIP Access - Fleshgod Apocalypse - Not a Concert Ticket

Metro Music Hall | Salt Lake City, UT

Fleshgod apocalypse & shadow of intent the black opera 2024, latest setlist, fleshgod apocalypse on august 23, 2024.

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Note: This is what I remember, may be incomplete and/or out of order.

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Fleshgod Apocalypse + Obscura Book 2023 North American Co-Headline Tour Dates

The new year will get off to a heavy start as Italian orchestral metal outfit Fleshgod Apocalypse and extreme metal collective Obscura will team up for a 2023 North American co-headline tour.

The 26-date tour, presented by Metal Sucks, will get underway on Feb. 18 in San Francisco, making the cross country jaunt before circling back to the West Coast for a March 16 finale in Las Angeles. And if you need some extra "heavy," the two headliners are bringing along Finnish melodic death metallers Wolfheart and blackened death metal vets Thulcandra to keep the energy high from the moment the first note is played.

For Fleshgod Apocalypse, this is a chance to tour in support of their latest album, Veleno , featuring the single " No ." The band's Fracesco Paoli says, "Dear friends of the United States and Canada, we are more than stoked to announce our return to your shores in February/March 2023, after four long years of absence. As you can imagine, this unending and frustrating period of cloister generated nothing else than an unquantifiable desire to blast your faces off! Besides, we feel rejuvenated after this forced rest so, be ready for some fast and furious fugues we haven't performed live for a long time."

He adds, "Obviously, a comeback worthy of its name has to be done with style. In fact, we're teaming up with incredible bands, such as German tech-death masters Obscura, our long-time Finnish friends Wolfheart and Thulcandra. Insane tour package, insane nights, insane crowds, insane everything. Get your tickets before they're gone!"

Obscura, meanwhile, are promoting their A Valediction album, featuring the recent single " When Stars Collide ." The band's Steffen Kummerer comments, "In February and March, we embark on a nationwide tour in North America, covering both Canada and the United States. The excellent lineup features Italy’s finest Fleshgod Apocalypse co-headlining with Obscura, and special guests Wolfheart and Thulcandra. Pick up your tickets and don’t miss the tour of the year!“

Tickets for the tour are on sale now right here . Check out all the dates, cities and venues listed below.

Fleshgod Apocalypse / Obscura / Wolfheart / Thulcandra 2023 Tour Dates

Feb. 18 - San Francisco, Calif. @ DNA Lounge Feb. 19 - Portland, Ore. @ Bossanova Ballroom Feb. 20 - Seattle, Wash. @ El Corazon Feb. 21 - Boise, Idaho @ The Shredder Feb. 22 - Grand Junction, Colo. @ Mesa Theater Feb. 23 - Denver, Colo. @ Oriental Theater Feb. 24 - Lincoln, Neb. @ The Royal Grove Feb. 25 - Minneapolis, Minn. @ The Underground Feb. 26 - Joliet, Ill. @ The Forge Feb. 27 - Detroit, Mich. @ Small's Feb. 28 - Toronto, Ontario @ Axis March 01 - Quebec City, Quebec @ Imperial Bell March 02 - Montreal, Quebec @ Studio TD March 03 - Worcester, Mass. @ The Palladium March 04 - New York, N.Y. @ Gramercy Theater March 05 - Silver Spring, Md. @ The Fillmore Silver Spring March 06 - Richmond, Va. @ Canal Club March 07 - Greensboro, N.C. @ Hangar 1819 March 08 - Tampa, Fla. @ The Orpheum March 10 - Houston, Texas @ White Oak Music Hall March 11 - Dallas, Texas @ Amplified Live March 12 - Austin, Texas @ Come and Take it Live March 13 - El Paso, Texas @ Rockhouse Bar & Grill March 14 - Mesa, Ariz. @ Nile Theater March 15 - San Diego, Calif. @ Brick by Brick March 16 - Los Angeles, Calif. @ The Regent

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FLESHGOD APOCALYPSE Announce Fall 2024 North American Co-Headline Tour With SHADOW OF INTENT

June 25, 2024, 3 months ago

news black death fleshgod apocalypse shadow of intent

Italian symphonic death metal maestros, Fleshgod Apocalypse, just revealed their long-awaited sixth studio album, Opera, will be released August 23 via Nuclear Blast Records.

Now, the band has announced their return to North America in support of the impending release for a co-headline tour with Shadow Of Intent, and support acts Ingested, The Zenith Passage and Disembodied Tyrant, which kicks off September 14 in Cleveland, OH and wraps on October 15 in Denver, CO.

Commenting on the tour frontman Francesco Paoli states: “We’re overly excited to announce the ultimate extreme symphonic metal experience across North America, which we’ll have the honor to headline along with our long-time friends Shadow of Intent. It’s going to be an event you don't want to miss, with the best clubs, a top-notch line-up and our most spectacular show to date.

"We can’t wait to play some brand new material from our upcoming album Opera for you all, so grab your tickets as soon as you can because they won’t last long. The worldwide Opera madness has just begun…”

Artist Presale: Wednesday June 26 at 9 AM, PST / 12 PM, EST Local Presale: Thursday June 27 at 9 AM, local General On Sale: Friday June 28 at 9 AM, local

Purchase tickets here .

Tour dates:

September 14 - Cleveland, OH - House of Blues 15 - Chicago, IL - Metro 16 - Bloomington, IL - The Castle Theatre 18 - Detroit, MI - Saint Andrew’s Hall 19 - Toronto, ON - The Opera House 20 - Montreal, QC - L'Olympia 21 - Ottawa, ON - Brass Monkey 22 - Worcester, MA - New England Metal and Hardcore Festival 23 - Brooklyn, NY - Warsaw 25 - Reading, PA - Reverb 26 - Baltimore, MD - Baltimore Soundstage 27 - Charlotte, NC - The Underground 28 - North Myrtle Beach, SC - House of Blues 29 - Tampa, FL - The Orpheum

October 1 - Austin, TX - Come And Take It Live 2 - San Antonio, TX - Paper Tiger 3 - Dallas, TX - Granada Theater 4 - Oklahoma City, OK - Diamond Ballroom 5 - Albuquerque, NM - Sunshine Theater 6 - Mesa, AZ - The Nile Theater 8 - San Francisco, CA - DNA Lounge 9 - Sacramento, CA - Ace of Spades 10 - San Diego, CA - House of Blues 11 - Riverside, CA - Riverside Municipal Auditorium 12 - Las Vegas, NV - House of Blues 13 - Salt Lake City, UT - Metro Music Hall 15 - Denver, CO - Ogden Theatre

Fleshgod Apocalypse are finally back with their brand new, sixth album, titled Opera, a gut-wrenching musical journey inspired by the tragic mountain climbing accident occurred to their frontman and mastermind Francesco Paoli, in 2021.

Due out August 23 via Nuclear Blast Records, the whole album is structured like a 10-act theatrical piece, as the title itself, Opera, draws a clear thread with the everlasting tradition of Italian classical music theater combining it with the epic brutality of death and symphonic metal, which has become their trademark sound.

Mixed and mastered by Grammy-nominated producer Jacob Hansen (Volbeat, Epica, Arch Enemy), Opera definitely marks another step forward for the band, incorporating new suggestions into that unique blend that Fleshgod Apocalypse are renowned for: sheer violence, majestic orchestrations and soaring melodies. Such an ambitious musical endeavor called for an equally impressive artwork, a team effort between two arising Italian talents (artist extraordinaire Felicita Fiorini and visionary photographer Francesco Esposito), following the path traced by baroque painters like Caravaggio and Artemisia Gentileschi.

The cover art portrays Veronica as Music, a superior entity that defeats the social and artistic decay of modern age.

With this new record, Fleshgod Apocalypse are setting the bar even higher than before, pioneering what looks like a completely new sub-genre that might be called “Opera Metal”: an unprecedented mix of extreme music and theatrical elements.

“The best stories always come from pain, it's a bitter truth yet undeniable.” Francesco P. states. “We managed to turn one of the worst things in life into a work of art, that embodies our personal and artistic growth and takes the listeners on a rollercoaster of emotions, where they can experience what I've been through hand in hand with me. It's a waking nightmare but that's how life is sometimes, just scary.”

Francesco P. continues: “In my visionary representation of this journey, that begins with my near death experience and culminates in a much desired physical and psychological rebirth, I wanted to frame every single step of my calvary, as if they were acts of an "Opera Lirica", with dialogues or even confessions to imaginary characters, who have been constant presences throughout my whole (mis)adventure.

"This album tosses you in a vortex of discomfort and uncontrollable feelings, where you can experience pain, fear, desperation, anger, frustration, but also resolve, courage, hope and a profound desire for redemption. I strongly believe that this album is a solid manifest of resilience, and I hope that my story will inspire people who got “lost” for whatever reason. We can’t wait for you to hear the full album and play it live at the four corners of the world. We’re planning to take everyone to “Opera” with a massive new show, so get ready!”

Pre-order Opera here .

Opera tracklisting:

"Ode to Art (De’ Sepolcri)" "I Can Never Die" "Pendulum" "Bloodclock" "At War With My Soul" "Morphine Waltz" "Matricide 8.21" "Per Aspera Ad Astra" "Till Death Do Us Part" "Opera"

"Bloodclock" video:

"Pendulum" video:

(Photo - Francesco Esposito)

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FLESHGOD APOCALYPSE & OBSCURA ANNOUNCE NORTH AMERICAN TOUR 2023

Italian orchestral death metal masters  FLESHGOD APOCALYPSE andvirtuosic extreme metallers  OBSCURA are proud to announce they are co-headlining their North American Tour 2023! Presented by MetalSucks, the 26-date trek will kick off on February 18th in San Francisco with performances in Denver, Toronto, and New York before concluding in Los Angeles on March 16th. Joining the package as openers are Finnish melodic death metal quartet  WOLFHEART and blackened death metal veterans  THULCANDRA. FLESHGOD APOCALYPSE ‘ will be hitting the road in support of their acclaimed album “ Veleno ,” Italian for ‘venom’. Listen and purchase Veleno at  https://fga.bfan.link/veleno-dlx .  FLESHGOD APOCALYPSE ‘s  Francesco Paoli comments,  “Dear friends of the United States and Canada, we are more than stoked to announce our return to your shores in February/March 2023, after four long years of absence. As you can imagine, this unending and frustrating period of cloister generated nothing else than an unquantifiable desire to blast your faces off! Besides, we feel rejuvenated after this forced rest so, be ready for some fast and furious fugues we haven’t performed live for a long time. Obviously, a comeback worthy of its name has to be done with style. In fact, we’re teaming up with incredible bands, such as German tech-death masters OBSCURA , our long-time Finnish friends WOLFHEART and THULCANDRA . Insane tour package, insane nights, insane crowds, insane everything. Get your tickets before they’re gone! 🤘🏻” OBSCURA  will be touring in support of  A Valediction  which was released earlier this year. Mixed and mastered by award-winning producer Fredrik Nordström , the album can be ordered here at  https://bfan.link/Obscura .  OBSCURA ‘s Steffen Kummerer comments, “In February and March, we embark on a nationwide tour in North America, covering both Canada and the United States. The excellent lineup features Italy’s finest FLESHGOD APOCALYPSE co-headlining with OBSCURA , and special guests WOLFHEART and THULCANDRA. Pick up your tickets and don’t miss the tour of the year!“ Tickets for the tour are on sale now at https://bnds.us/8idszb

Confirmed dates for the FLESHGOD APOCALYPSE & OBSCURA  Co-Headlining North American Tour 2023 presented by MetalSucks are: 2/18/2023  San Francisco, CA – DNA Lounge 2/19/2023  Portland, OR – Bossanova Ballroom 2/20/2023  Seattle, WA – El Corazon 2/21/2023  Boise, ID – The Shredder 2/22/2023  Grand Junction, CO – Mesa Theater 2/23/2023  Denver, CO – Oriental Theater 2/24/2023  Lincoln, NE – The Royal Grove 2/25/2023  Minneapolis, MN – The Underground 2/26/2023  Joliet, IL – The Forge 2/27/2023  Detroit, MI – Small’s 2/28/2023  Toronto, ON – Axis 3/01/2023  Quebec City, QC – Imperial Bell 3/02/2023  Montreal, QC – Studio TD 3/03/2023  Worcester, MA – The Palladium 3/04/2023  New York, NY – Gramercy Theater 3/05/2023  Silver Spring, MD – The Fillmore Silver Spring 3/06/2023  Richmond, VA – Canal Club 3/07/2023  Greensboro, NC – Hangar 1819 3/08/2023  Tampa, FL – The Orpheum 3/10/2023  Houston, TX – White Oak Music Hall 3/11/2023  Dallas, TX – Amplified Live 3/12/2023  Austin, TX – Come and Take it Live 3/13/2023  El Paso, TX – Rockhouse Bar & Grill 3/14/2023  Mesa, AZ – Nile Theater 3/15/2023  San Diego, CA – Brick by Brick 3/16/2023  Los Angeles, CA – The Regent

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Fleshgod Apocalypse: Unveiling “Opera,” “I Can Never Die” Single, and Tour Dates

Alex de Borba

Fleshgod Apocalypse announces their co-headlining tour with Shadow of Intent across North America, supporting their new album “Opera,” set to release on August 23rd, 2024, via Nuclear Blast Records. The new music video for “I Can Never Die” reflects on the power of memory and artistic legacy.

The Italian band Fleshgod Apocalypse is set to release their highly anticipated sixth studio album, “Opera,” on August 23rd, 2024, through Nuclear Blast Records . This album promises to be a defining entry in their discography, marking a significant evolution in their sound and artistic vision. “Opera” is profoundly influenced by frontman Francesco Paoli’s near-death experience following a severe mountain climbing accident in 2021, which left him with multiple injuries and required a long recovery period. This traumatic event serves as the conceptual backbone of the album, shaping its themes and emotional landscape.

Fleshgod Apocalypse, an ensemble hailing from the culturally rich and historically significant country of Italy, has emerged as a formidable force in the pantheon of symphonic death metal. Since their formation in 2007, the band has distinguished themselves through a unique synthesis of classical music and extreme metal, an amalgamation that has resonated deeply with a diverse audience.

The metal genre, depicted by its intensity and aggression, has always been fertile ground for innovation and experimentation. Within this context, Fleshgod Apocalypse’s integration of symphonic elements represents a significant departure from traditional death metal. Their music, imbued with operatic grandeur and classical sophistication, challenges preconceived notions of metal and invites listeners to experience a genre that is as intellectually stimulating as it is viscerally impactful. This intersection of high art and extreme music forms the cornerstone of Fleshgod Apocalypse’s identity and artistic mission.

In examining Fleshgod Apocalypse’s history, it is essential to contextualize their work within the broader evolution of metal music. The late twentieth and early twentieth-first centuries saw a proliferation of sub-genres within metal, each pushing the boundaries of the genre in new and thrilling ways. Symphonic metal, characterized by its use of orchestral arrangements and classical influences, emerged as a prominent sub-genre, with bands like Nightwish and Epica leading the charge. Fleshgod Apocalypse, however, differentiated themselves by merging the technical complexity and brutality of death metal with the grandeur of symphonic music, creating a sound that is both uniquely their own and reflective of a broader trend towards genre hybridization.

Fleshgod Apocalypse’s discography serves as a chronicle of their artistic growth and experimentation. From their early days of raw, technical death metal to their later, more refined symphonic works, each album represents a distinct phase in their evolution. The band’s lyrical themes, often exploring existential and philosophical questions, add a layer of depth to their music that resonates with listeners on multiple levels. This thematic richness, combined with their musical complexity, positions Fleshgod Apocalypse not just as musicians, but as artists in the truest sense of the word.

The band’s live performances further exemplify their commitment to merging music with theatricality. Often donning period costumes and utilizing elaborate stage setups, their concerts are immersive experiences that transport audiences to different eras and realms. This commitment to visual as well as auditory spectacle underscores the operatic nature of their work and enhances the narrative quality of their music.

Moreover, understanding Fleshgod Apocalypse’s influence requires a look at the cultural and intellectual milieu that surrounds their work. Italy, with its rich history of classical music and opera, provides a fitting backdrop for a band that seeks to merge these traditions with contemporary metal. The band’s music can be seen as a dialogue between past and present, classical and modern, high art and popular culture. This dynamic interplay not only enriches their music but also situates it within a broader cultural and historical context, inviting listeners to consider the connections between different artistic forms and traditions.

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Formation and Early Years (2007-2009)

Fleshgod Apocalypse was established in 2007, in Rome, Italy, a city renowned for its rich cultural heritage and historical significance. The band’s foundation was driven by a shared vision among its founding members: Francesco Paoli, Paolo Rossi, and Cristiano Trionfera. Their aim was to create music that transcended the conventional boundaries of death metal by infusing it with classical and symphonic elements. This ambitious vision set the stage for what would become one of the most innovative acts in the metal genre.

Francesco Paoli, initially the drummer before later transitioning to guitar and vocals, brought with him a wealth of experience from his involvement in various underground metal projects. His technical proficiency and compositional skills were complemented by Paolo Rossi’s intricate bass lines and Cristiano Trionfera’s adept guitar work. Together, they forged a sound that was both technically impressive and artistically ambitious. Their early rehearsal sessions were outlined by a relentless pursuit of perfection, with the trio often spending hours refining their compositions and experimenting with different musical elements.

The band’s first official release was the demo “Promo ‘07,” a raw yet compelling showcase of their burgeoning talent. This early work was marked by its aggressive guitar riffs, complex drum patterns, and guttural vocals, all hallmarks of traditional death metal. However, even at this nascent stage, Fleshgod Apocalypse hinted at their future direction by incorporating subtle classical influences into their music. The demo received positive feedback from the underground metal community, earning the band a reputation for their technical skill and innovative approach.

In 2009, Fleshgod Apocalypse released their debut album, “Oracles,” under the Dutch label Willowtip Records. This album represented a significant leap forward in terms of both production quality and musical complexity. “Oracles” was a bold statement of intent, combining the brutality of death metal with the sophistication of classical music. The album’s intricate compositions and thematic depth set it apart from the work of their contemporaries, signaling the arrival of a new force in the metal scene.

The recording process for “Oracles” was intensive, with the band members meticulously crafting each track to achieve a perfect balance between aggression and melody. They drew inspiration from a wide range of sources, including classical composers such as Johann Sebastian Bach and Ludwig van Beethoven, whose influence can be heard in the album’s complex arrangements and orchestral interludes. Tracks like “In Honour of Reason” and “Requiem in SI Minore” embodied this fusion, with their sweeping melodies and intricate harmonies providing a stark contrast to the ferocity of the death metal riffs.

“Oracles” delved into themes of human existence, philosophical inquiry, and the search for truth. The album’s title itself evokes the idea of ancient wisdom and prophecy, suggesting a deeper level of introspection and intellectual engagement. This thematic complexity was further enhanced by the band’s use of Latin and Italian phrases, adding a layer of historical and cultural resonance to their music.

The release of “Oracles” marked a turning point for Fleshgod Apocalypse, as it garnered significant attention from both fans and critics. The album was praised for its originality and technical proficiency, establishing the band as pioneers of a new sub-genre within death metal. This early success laid the foundation for their future endeavors, providing them with the confidence and momentum to continue pushing the boundaries of their music.

During this period, the band also began to establish their reputation as a formidable live act. Their performances were characterized by their intensity and precision, with the band members displaying a level of musicianship that was rare within the extreme metal scene. The addition of orchestral backing tracks and operatic elements further enhanced the theatricality of their shows, making them a standout act in the metal community.

The formative years of Fleshgod Apocalypse were thus marked by a relentless drive for innovation and excellence. Their early work set the stage for what would become a remarkable journey of artistic evolution, characterized by a continuous blending of disparate musical elements to create something truly unique. As they moved forward, the foundations laid during this period would serve as a crucial bedrock for their subsequent achievements and the development of their signature sound.

The Symphony Begins: “Mafia” and “Agony” (2010-2011)

The years 2010 and 2011 marked a pivotal phase in the artistic trajectory of Fleshgod Apocalypse, as they began to fully embrace and integrate symphonic elements into their music. This period saw the release of the “Mafia” EP and the landmark album “Agony,” both of which showcased the band’s evolving sound and solidified their reputation as pioneers of symphonic death metal.

“Mafia” (2012)

In 2010, Fleshgod Apocalypse released the “Mafia” EP, a record that signified a major shift in their musical direction. Unlike their earlier works, which leaned heavily on the technical death metal genre, “Mafia” saw the band experimenting more boldly with classical music elements and complex orchestral arrangements. This EP served as a bridge between their early raw death metal style and the more polished symphonic death metal sound that they would later perfect.

“Mafia” was inspired by the crime syndicates that have long been a part of Italian history, with the thematic content delving into the dark and violent world of organized crime. Tracks like “Thru Our Scars” and “Conspiracy of Silence” not only highlighted the brutality of the mafia lifestyle but also explored the psychological and societal impacts of such an existence. The EP’s title track, “Mafia,” stood out for its orchestral grandeur, featuring elaborate string arrangements that created an eerie and dramatic atmosphere.

The production of “Mafia” was a meticulous process. The band worked closely with producer Stefano Morabito at 16th Cellar Studio in Rome to achieve a sound that was both aggressive and refined. They employed a variety of classical instruments, including violins, cellos, and grand pianos, blending these with the traditional metal instrumentation to create a rich and layered sound. This fusion of styles demonstrated the band’s growing confidence in their ability to merge the worlds of classical music and extreme metal.

“Mafia” was met with critical acclaim and positive reception from fans. It was praised for its innovative approach and the seamless integration of symphonic elements into the band’s death metal framework. The EP’s success laid the groundwork for the ambitious musical direction that Fleshgod Apocalypse would fully realize in their next major release, “Agony.”

“Agony” (2011)

The release of “Agony” in 2011 was a defining moment for Fleshgod Apocalypse, marking their transformation from a technical death metal band with symphonic tendencies to a fully-fledged symphonic death metal powerhouse. Agony was a concept album that explored themes of human suffering, existential dread, and the nature of pain, both physical and emotional. This thematic focus was underscored by the album’s title, which encapsulated the intense and often overwhelming emotional experiences depicted in the music.

From a musical standpoint, “Agony” represented a quantum leap in complexity and ambition. The album featured extensive orchestral arrangements composed and conducted by Francesco Ferrini, who joined the band as a full-time member. Ferrini’s classical training and expertise in orchestration played a crucial role in shaping the sound of “Agony,” infusing it with a level of sophistication and depth that was unprecedented in the realm of death metal.

Tracks like “The Violation” and “The Deceit” exemplified the band’s new sound, with their intricate orchestral passages and operatic vocal sections. “The Violation” in particular became an anthem for the band, its relentless pace and dramatic orchestration capturing the essence of their symphonic death metal style. The song’s music video, featuring elaborate costumes and gothic visuals, further cemented Fleshgod Apocalypse’s reputation for combining music with theatrical storytelling.

The recording process for “Agony” was a Herculean effort. The band once again collaborated with Stefano Morabito at 16th Cellar Studio, where they meticulously layered multiple tracks of orchestral instruments, choirs, and traditional metal components. This intricate layering required careful attention to detail to ensure that each element was balanced and contributed to the overall sound. The result was an album that was both sonically dense and dynamically rich, offering listeners a deeply immersive experience.

“Agony” delved into profound and often disturbing themes. The band drew upon existential philosophy and literary sources to craft lyrics that explored the darkest corners of the human psyche. Songs like “The Hypocrisy” and “The Imposition” tackled issues of moral decay, self-deception, and the inherent suffering that accompanies human existence. This intellectual depth, combined with the album’s musical complexity, positioned “Agony” as a work of art that transcended the boundaries of traditional death metal.

The reception of “Agony” was overwhelmingly positive, with critics and fans alike lauding the album for its innovative approach and masterful execution. It was hailed as a groundbreaking achievement in the symphonic death metal genre, earning Fleshgod Apocalypse a wider audience and greater recognition within the metal community. The album’s success also paved the way for the band to embark on extensive tours, bringing their symphonic death metal sound to audiences around the world.

The period of 2010-2011 was a transformative era for Fleshgod Apocalypse. The release of “Mafia” and “Agony” not only marked a significant evolution in their musical style but also established them as trailblazers in the symphonic death metal genre. Through their innovative fusion of classical and extreme metal elements, they created a sound that was both brutal and beautiful, earning them a lasting legacy in the metal world.

Conceptual and Musical Expansion: “Labyrinth” and “King” (2013-2016)

The years between 2013 and 2016 were a period of remarkable growth and artistic development for Fleshgod Apocalypse. During this time, the band released two seminal albums, “Labyrinth” and “ King, ” each of which represented a significant leap in their conceptual and musical ambitions. These albums not only solidified their status as pioneers of symphonic death metal but also showcased their ability to weave complex narratives and sophisticated compositions into their music.

“Labyrinth” (2013)

Released in 2013, “Labyrinth” was a concept album deeply rooted in the rich tapestry of Greek mythology. The album drew inspiration from the myth of the Minotaur and the labyrinth, a tale that symbolizes the intricate and often perilous journey of human existence. This choice of theme allowed Fleshgod Apocalypse to explore profound philosophical questions and existential dilemmas, all while maintaining a narrative coherence that ran throughout the album, a truly “tour de force.”

The album featured some of the most complex and ambitious compositions the band had ever undertaken. The orchestral arrangements, crafted by Francesco Ferrini, were more intricate and prominent than ever before. Ferrini’s classical training shone through in the album’s elaborate symphonic passages, which seamlessly intertwined with the band’s brutal death metal foundations.

Tracks like “Kingborn” and “Minotaur (The Wrath of Poseidon)” demonstrated the band’s ability to blend heavy metal with classical music. “Kingborn,” the album’s opening track, set the tone with its dramatic orchestration and relentless pace. The song’s intricate guitar work and thunderous drumming were complemented by a soaring symphonic backdrop, creating a sense of epic grandeur. “Minotaur (The Wrath of Poseidon)” further showcased the band’s compositional prowess, with its shifting tempos, complex harmonies, and operatic vocal sections.

The recording process for “Labyrinth” was an intensive endeavor. The band recorded at 16th Cellar Studio in Rome, working meticulously to ensure that each orchestral and metal element was perfectly balanced. This attention to detail was evident in the final product, which featured a rich, multi-layered sound that drew listeners into the mythological world the band had created.

Thematically, “Labyrinth” delved into themes of fate, destiny, and the struggle for self-discovery. The narrative arc of the album mirrored the journey of Theseus through the labyrinth, with each track representing a different stage of his quest. Songs like “Elegy” and “Prologue” explored the emotional and psychological challenges faced by the protagonist, adding depth and complexity to the album’s overarching theme.

The critical reception of “Labyrinth” was overwhelmingly positive. Critics praised the album for its ambitious scope and the seamless integration of classical and metal elements. Fans also responded enthusiastically, appreciating the band’s ability to craft a cohesive and compelling narrative within the framework of a concept album. “Labyrinth” not only expanded Fleshgod Apocalypse’s artistic horizons but also solidified their reputation as innovative and forward-thinking musicians.

“King” (2016)

Building on the success of “Labyrinth,” Fleshgod Apocalypse released “ King ” in 2016, an album that took their conceptual and musical ambitions to new heights. “King” was a concept album that explored themes of power, corruption, and morality, set against the backdrop of a fictional kingdom in turmoil. The narrative followed the rise and fall of a monarch, examining the complexities of leadership and the moral dilemmas that accompany power.

Musically, “King” was a culmination of the band’s evolving sound. The orchestral arrangements were more expansive and sophisticated, featuring contributions from a full symphony orchestra and choir. The album’s production, handled by Jens Bogren at Fascination Street Studios in Sweden, was pristine and polished, allowing each musical element to shine through clearly.

The opening track, “March Royale,” set the stage with its majestic orchestration and powerful choral sections. The song’s regal atmosphere and triumphant melodies captured the essence of the album’s theme, drawing listeners into the fictional world of the kingdom. “The Fool,” one of the standout tracks, combined blistering guitar riffs and thunderous drumming with lush orchestral arrangements and operatic vocals, creating a dynamic and dramatic listening experience.

“The Fool” also exemplified the band’s lyrical depth, with its exploration of the duplicity and deception inherent in political power. Other tracks, such as “Cold as Perfection” and “Gravity,” delved into themes of ambition, greed, and the human cost of striving for power. The album’s narrative arc was meticulously crafted, with each song contributing to the overarching story of the rise and fall of the king.

The recording process for “King” was a testament to the band’s dedication to their craft. The album featured contributions from numerous guest musicians, including classical singers and instrumentalists, who added richness and depth to the orchestral arrangements. The band’s meticulous attention to detail ensured that every aspect of the album, from the composition to the production, was executed to perfection.

The visual aesthetics of “King” also played a crucial role in conveying the album’s themes. The album cover, designed by renowned artist Eliran Kantor, depicted a regal figure surrounded by symbols of power and decay, reflecting the duality of the album’s narrative. The band’s live performances during this period were similarly elaborate, featuring theatrical costumes and stage designs that brought the fictional kingdom to life.

The reception of “King” was overwhelmingly positive, with critics and fans alike praising the album for its ambitious scope and masterful execution. The album was hailed as a landmark achievement in symphonic death metal, showcasing Fleshgod Apocalypse’s ability to push the boundaries of the genre while maintaining a cohesive and compelling narrative. “King” not only solidified the band’s status as innovators in the metal world but also demonstrated their capacity for conceptual and musical expansion.

The period between 2013 and 2016 was a time of significant artistic growth for Fleshgod Apocalypse. With the release of “Labyrinth” and “King,” the band expanded their conceptual and musical horizons, creating albums that were both intellectually and emotionally engaging. Through their innovative fusion of classical and metal elements, they crafted rich, multi-layered works that resonated with listeners and solidified their reputation as pioneers of symphonic death metal.

Refinement and Innovation: “Veleno” (2019)

The release of “ Veleno ” in 2019 marked another significant chapter in the artistic evolution of Fleshgod Apocalypse. This album, whose title translates to “venom” in Italian, encapsulates the band’s continuous quest for innovation and refinement within the symphonic death metal genre. “Veleno” stands as a landmark to the band’s ability to synthesize their complex musical influences into a coherent and powerful artistic statement.

Concept and Themes

“Veleno” explores themes of toxicity, both literal and metaphorical, addressing the venomous aspects of human nature and society. The album delves into various forms of poison, from the physical and chemical to the psychological and emotional. This thematic focus is reflected in the album’s lyrical content, which examines the destructive forces that lurk within individuals and communities. The notion of poison as a corrupting and transformative agent serves as a central motif, driving the album’s narrative and conceptual framework.

The album’s exploration of toxicity is multifaceted, addressing issues such as addiction, betrayal, and the pervasive influence of negative emotions. Tracks like “Sugar” and “Carnivorous Lamb” exemplify this thematic richness. “Sugar” critiques the seductive allure of harmful substances and behaviors, using the metaphor of sweetness to highlight the insidious nature of addiction. “Carnivorous Lamb,” on the other hand, examines the dynamics of power and exploitation, portraying a world where innocence is preyed upon by the corrupt and powerful.

Musical Composition and Innovation

Musically, “Veleno” represents a refined synthesis of Fleshgod Apocalypse’s signature elements: brutal death metal, symphonic orchestration, and operatic grandeur. However, the album also incorporates new influences and experimental touches that set it apart from their previous work. The production quality on “Veleno” is exceptionally high, thanks to the band’s collaboration with acclaimed producer Jacob Hansen. This partnership resulted in a sound that is both polished and aggressive, balancing the raw intensity of metal with the sophistication of classical music.

The orchestral arrangements on “Veleno” are particularly noteworthy. Francesco Ferrini, the band’s pianist and primary composer of the symphonic elements, crafted intricate and dynamic compositions that enhanced the emotional and dramatic impact of the songs. The album features a diverse array of classical instruments, including strings, brass, and woodwinds, which are seamlessly integrated with the heavy guitar riffs and pounding drums. This blend of metal and orchestral elements creates a rich, multi-layered sound that is both powerful and nuanced.

Tracks such as “Worship and Forget” and “Pissing on the Score” highlight the band’s innovative approach to composition. “Worship and Forget” combines relentless blast beats and guttural vocals with sweeping orchestral passages and choral arrangements, creating a song that is both brutal and majestic. “Pissing on the Score” showcases the band’s technical prowess, with its complex time signatures and virtuosic instrumental performances.

One of the standout features of “Veleno” is the inclusion of baroque and renaissance influences, adding a historical dimension to the album’s sound. These influences are particularly evident in tracks like “Monnalisa,” which features harpsichord and lute-like guitar parts that evoke the music of the Italian Renaissance. This blending of old and new creates a timeless quality, bridging the gap between classical tradition and modern extremity.

Vocal and Instrumental Performances

The vocal performances on “Veleno” are among the most varied and dynamic in the band’s discography. Francesco Paoli, who returned to the role of lead vocalist for this album, delivers a commanding performance, showcasing his range from deep growls to piercing screams. The operatic vocals, provided by soprano Veronica Bordacchini, add a layer of theatricality and elegance to the music, complementing the harshness of Paoli’s death metal growls.

The instrumental performances on “Veleno” are equally impressive. The guitar work, handled by Paoli and Fabio Bartoletti, is distincted by its technical precision and melodic sensibility. The riffs are intricate and aggressive, while the solos are both virtuosic and expressive. The rhythm section, featuring Paolo Rossi on bass and David Folchitto on drums, provides a solid foundation, driving the music forward with relentless energy and precision.

Visual and Thematic Elements

The visual aesthetics of “Veleno” play a crucial role in conveying the album’s themes. The cover art, designed by renowned artist Travis Smith, depicts a serpent entwined with a human skull, symbolizing the intertwining of life and death, beauty and decay. This imagery reflects the album’s exploration of toxicity and corruption, serving as a visual counterpart to the music and lyrics.

The band’s music videos for tracks like “Sugar” and “Monnalisa” further enhance the album’s thematic content. These videos are visually striking, featuring elaborate sets and costumes that bring the songs’ narratives to life. The video for “Sugar,” for example, portrays a dystopian world where addiction and decadence have taken over, while “Monnalisa” uses Renaissance-inspired imagery to explore themes of beauty and madness.

Critical Reception and Legacy

Upon its release, “Veleno” received widespread acclaim from critics and fans alike. Reviewers praised the album for its innovative approach, technical proficiency, and emotional depth. The album was lauded as a masterful example of symphonic death metal, showcasing Fleshgod Apocalypse’s ability to evolve and refine their sound while staying true to their artistic vision.

“Veleno” also had a significant impact on the metal community, influencing a new generation of musicians and bands. Its blend of classical and metal elements set a new standard for the genre, inspiring others to explore similar fusions. The album’s success further cemented Fleshgod Apocalypse’s reputation as one of the leading forces in symphonic death metal, demonstrating their ability to continually push the boundaries of the genre.

Indeed, “Veleno” represents a pinnacle of refinement and innovation in Fleshgod Apocalypse’s career. Through its complex compositions, thematic depth, and exceptional performances, the album exemplifies the band’s commitment to artistic excellence and their ability to transcend the traditional confines of metal music. “Veleno” stands as a powerful testament to the enduring appeal and creative potential of symphonic death metal.

“Opera” (2024)

“Opera” is thematically rich, exploring the dichotomy between life and death, suffering and resilience. The album is structured like a traditional Italian opera, divided into ten acts, each representing a different facet of Paoli’s harrowing journey and ultimate rebirth. The tracks are imbued with a sense of drama and intensity, reflecting the emotional turbulence of Paoli’s experiences. The album’s title not only signifies its operatic structure but also nods to the band’s Italian heritage and the classical influences that have always permeated their music.

The songs on “Opera” tackle heavy themes such as mortality, existential dread, and the quest for meaning amidst chaos. For example, the lead single “Bloodclock” delves into Paoli’s visions and thoughts during his near-death experience, capturing the terror and surreal nature of facing one’s mortality. Paoli described the song as a vivid portrayal of his personal witness to the brink of death and the subsequent fight for survival​.

Musical Composition

Musically, “Opera” pushes the boundaries of Fleshgod Apocalypse’s signature blend of symphonic death metal. The album features expansive orchestral arrangements, intricate guitar work, and a dynamic range of vocal styles, including operatic performances by Veronica Bordacchini. These elements come together to create a sound that is both grandiose and brutal, maintaining the band’s reputation for technical proficiency and compositional complexity.

The production of “Opera” was overseen by Jacob Hansen, ensuring a polished and powerful sound. The orchestral elements, arranged by Francesco Ferrini, are seamlessly integrated with the band’s aggressive metal foundation, creating a rich, multi-layered auditory experience. Tracks like “Morphine Waltz” and “Matricide 8.21” exemplify this fusion, with their elaborate symphonic passages and relentless metal intensity.

Visual and Artistic Elements

The visual aesthetics of “Opera” are meticulously crafted to complement its musical and thematic content. The album cover, designed by Francesco Esposito, features symbolic imagery that reflects the album’s exploration of life, death, and rebirth. The band’s music videos, particularly for the singles “Bloodclock” and “Pendulum,” directed by Martina McLean, use powerful and evocative visuals to enhance the storytelling. These videos are distinctive by their cinematic quality and dramatic portrayal of the album’s themes, making them integral to the overall artistic presentation of “Opera.”

Critical Reception and Anticipation

Early reviews and fan reactions to the singles “Bloodclock” and “Pendulum” have been overwhelmingly positive, with many praising the band’s ability to translate personal trauma into compelling and emotionally resonant music. Critics have noted that “Opera” could potentially redefine the symphonic death metal genre, introducing a new sub-genre that blends extreme music with theatrical elements, tentatively dubbed “opera metal.”

The anticipation for “Opera” is high, with fans eagerly awaiting its release. The album is expected to not only resonate with long-time followers of the band but also attract new listeners drawn to its innovative approach and profound thematic content. Fleshgod Apocalypse plans to support the album with an extensive tour, promising to bring the operatic spectacle of “Opera” to audiences around the world.

Live Performances and Visual Aesthetics

Live performances and visual aesthetics are integral components of Fleshgod Apocalypse’s identity, serving as extensions of their music and thematic concepts. The band has cultivated a reputation for delivering concerts that are not just musical performances but fully immersive theatrical experiences. This commitment to creating a visual spectacle enhances the impact of their symphonic death metal sound, providing audiences with a holistic and unforgettable experience.

Theatrical Elements and Stage Design

Fleshgod Apocalypse’s live shows are renowned for their elaborate stage designs and theatrical elements, which transform their concerts into grand productions. The band often performs in baroque-inspired costumes, complete with waistcoats, cravats, and powdered hair, reminiscent of eighteenth century European aristocracy. These costumes are not merely for show but serve to reinforce the band’s fusion of classical and metal elements, creating a visual continuity that complements their music.

The stage setups often feature gothic and classical motifs, such as candelabras, grand pianos, and ornate backdrops. These elements evoke the grandeur and opulence of classical music performances, juxtaposed with the intensity and aggression of death metal. The use of dramatic lighting and fog machines further enhances the atmosphere, creating a sense of mystique and otherworldliness that draws the audience into the band’s narrative universe.

Integration of Orchestral and Operatic Elements

One of the defining features of Fleshgod Apocalypse’s live performances is their integration of orchestral and operatic elements. The band frequently employs backing tracks that include full orchestral arrangements, ensuring that the symphonic components of their music are faithfully reproduced in a live setting. This use of pre-recorded orchestration allows the band to maintain the complexity and richness of their studio recordings while performing live.

Visual Storytelling and Symbolism

Fleshgod Apocalypse’s commitment to visual storytelling extends beyond their stage design and costumes. The band uses visual symbolism to reinforce the themes and narratives explored in their music. For example, during performances of songs from the album “King,” the band members don crowns and scepters, symbolizing the themes of power and corruption central to the album’s concept. Similarly, the use of masks and other props in their shows often reflects the lyrical content of their songs, adding layers of meaning to their performances.

The band’s music videos also play a crucial role in their visual storytelling. These videos are meticulously crafted to reflect the themes and aesthetics of their albums, featuring elaborate sets, intricate costumes, and cinematic narratives. The video for “The Fool,” for instance, depicts a court jester navigating a corrupt royal court, visually representing the song’s commentary on deception and manipulation. These music videos not only enhance the listener’s understanding of the band’s music but also serve as standalone pieces of art that contribute to the band’s overall visual identity.

Audience Engagement and Interaction

Audience engagement is a key aspect of Fleshgod Apocalypse’s live performances. The band’s theatrical approach creates a sense of spectacle that captivates audiences and encourages active participation. Frontman Francesco Paoli often interacts with the crowd, using dramatic gestures and impassioned speeches to draw them into the performance. This engagement fosters a sense of community and shared experience, making each concert a memorable event for those in attendance.

The band’s meticulous attention to detail in their live performances extends to their sound quality as well. They strive to ensure that the complex layers of their music are clearly heard, balancing the orchestral elements with the raw power of their metal instrumentation. This commitment to high-quality sound ensures that the audience can fully appreciate the intricacies of their compositions, even in a live setting.

Critical Reception and Impact

Fleshgod Apocalypse’s live performances have been widely praised by critics and fans alike. Reviewers often highlight the band’s ability to seamlessly blend music and theater, creating shows that are both sonically and visually stunning. The band’s dedication to delivering high-caliber performances has earned them a reputation as one of the most dynamic and engaging acts in the metal scene.

The impact of Fleshgod Apocalypse’s live performances extends beyond their immediate audience. Their innovative approach to concert presentation has influenced other bands within the metal genre, encouraging a greater emphasis on visual aesthetics and theatricality. By pushing the boundaries of what a metal concert can be, Fleshgod Apocalypse has set a new standard for live performances, inspiring others to explore similar creative avenues.

Evolution of Live Performances

Over the years, Fleshgod Apocalypse’s live performances have evolved, reflecting their growth as artists and their increasing ambition. Early shows, while intense and energetic, were more straightforward in their presentation. As the band’s music became more complex and their concepts more intricate, their live shows evolved to match. This evolution has seen the incorporation of more sophisticated stage designs, enhanced visual effects, and greater theatrical elements, all aimed at providing a fully immersive experience.

Recent tours have showcased the band’s commitment to continuously improving their live performances. For example, during the tour supporting “Veleno,” the band introduced new visual elements that reflected the album’s themes of toxicity and transformation. These included innovative lighting designs and visual projections that added a new dimension to their shows, further blurring the lines between concert and theatrical production.

Fleshgod Apocalypse’s live performances and visual aesthetics are integral to their artistic identity. By combining theatrical elements, sophisticated stage designs, and visual storytelling with their symphonic death metal sound, the band creates immersive experiences that captivate audiences and enhance the impact of their music. Their commitment to innovation and refinement in their live shows has not only set them apart within the metal community but also influenced the broader landscape of live music performance.

In another exciting development, a co-headlining tour between Fleshgod Apocalypse and American symphonic/melodic deathcore act Shadow of Intent has been announced. Dubbed The Black Opera Across North America, the tour aligns with the release of “Opera.” Kicking off on September 14th in Cleveland, Ohio, and concluding on October 15th in Denver, Colorado, the tour features supporting acts Ingested, The Zenith Passage, and Disembodied Tyrant.

Paoli expresses his enthusiasm for the tour, particularly after his challenging recovery. He states, “We are overly excited to announce the ultimate extreme symphonic metal experience across North America, which we will have the honor to headline along with our long-time friends Shadow of Intent. It is going to be an event you do not want to miss, with the best clubs, a top-notch line-up and our most spectacular show to date. We cannot wait to play some brand new material from our upcoming album ‘Opera’ for you all, so grab your tickets as soon as you can because they will not last long. The worldwide ‘Opera’ madness has just begun…”

“I Can Never Die”

The new music video for the track “I Can Never Die” is taken from the upcoming album. Directed by Martina L. McLean, the video visually captures the song’s profound themes. Paoli reflects on the concept of memory, stating, “Memory is the strongest force in the universe, as it is the one and only that can give us immortality. It cannot be deceived or shaped to our liking as, in the end, we are what we do and what we leave to posterity faithfully reflects what kind of men and women we have been.” This introspection was catalyzed by his life-threatening accident, which led him to contemplate his legacy and the impact of his actions.

Director Martina L. McLean contributes her vision to the music video, drawing inspiration from the infernal and chaotic masterpieces of Hieronymus Bosch while ranging through various styles and times. She aimed to create an experimental video guided by inspiration and various techniques. The collaboration with Fleshgod Apocalypse, described as “a true anthem to the value of art and the artist,” highlights the band’s commitment to pushing artistic boundaries.

“Opera” represents a bold and ambitious project for Fleshgod Apocalypse, one that encapsulates their growth as musicians and their ability to transform personal hardship into artistic triumph. As they prepare to release this album, the band stands poised to make a significant impact on the metal genre and continue their legacy of innovation and excellence.

“Opera” is now available for pre-order through our shop. We invite you to secure your copy and immerse yourself in the profound themes and intricate compositions that define Fleshgod Apocalypse’s latest opus. We would love to hear your thoughts on the new album and its artistic direction. Please leave your comments below and join the conversation!

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FLESHGOD APOCALYPSE ANNOUNCE FALL 2024 NORTH AMERICAN TOUR

FLESHGOD APOCALYPSE ANNOUNCE FALL 2024 NORTH AMERICAN TOUR NEW ALBUM,  OPERA , COMING AUG 23RD

Italian Symphonic Death Metal maestros  FLESHGOD APOCALYPSE  just revealed their long-awaited 6th studio album,  Opera , will be released  August 23rd  with  Nuclear Blast Records . Now, the band has announced their return to North America in support of the impending release for a co-headline tour with  SHADOW OF INTENT,  and support acts  INGESTED ,  THE ZENITH PASSAGE  and  DISEMBODIED TYRANT , which kicks off September 14th in Cleveland, OH and wraps on October 15th in Denver, CO.

Commenting on the tour frontman  Francesco Paoli  states:

“ We’re overly excited to announce the ultimate extreme symphonic metal experience across North America, which we’ll have the honor to headline along with our long-time friends Shadow of Intent. 

It’s going to be an event you don’t want to miss, with the best clubs, a top-notch line-up and our most spectacular show to date.

We can’t wait to play some brand new material from our upcoming album “Opera” for you all, so grab your tickets as soon as you can because they won’t last long. The worldwide Opera madness has just begun… ”

Artist Presale: Wednesday June 26 @ 9am PST / 12pm EST Local Presale: Thursday June 27 @ 9am LOCAL General On Sale: Friday June 28 @ 9am LOCAL Purchase tickets at  https://bnds.us/8idszb

FLESHGOD APOCALYPSE  Tour Dates:

9/14 – Cleveland, OH – House of Blues 9/15 – Chicago, IL – Metro 9/16 – Bloomington, IL – The Castle Theatre 9/18 – Detroit, MI – Saint Andrew’s Hall 9/19 – Toronto, ON – The Opera House 9/20 – Montreal, QC – L’Olympia 9/21 – Ottawa, ON – Brass Monkey 9/22 – Worcester, MA – New England Metal and Hardcore Festival 9/23 – Brooklyn, NY – Warsaw 9/25 – Reading, PA – Reverb 9/26 – Baltimore, MD – Baltimore Soundstage 9/27 – Charlotte, NC – The Underground 9/28 – North Myrtle Beach, SC – House of Blues 9/29 – Tampa, FL – The Orpheum 10/01 – Austin, TX – Come And Take It Live 10/02 – San Antonio, TX – Paper Tiger 10/03 – Dallas, TX – Granada Theater 10/04 – Oklahoma City, OK – Diamond Ballroom 10/05 – Albuquerque, NM – Sunshine Theater 10/06 – Mesa, AZ – The Nile Theater 10/08 – San Francisco, CA – DNA Lounge 10/09 – Sacramento, CA – Ace of Spades 10/10 – San Diego, CA – House of Blues 10/11 – Riverside, CA – Riverside Municipal Auditorium 10/12 – Las Vegas, NV – House of Blues 10/13 – Salt Lake City, UT – Metro Music Hall 10/15 – Denver, CO – Ogden Theatre

FLESHGOD APOCALYPSE  are finally back with their brand new, 6th album titled  Opera , a gut-wrenching musical journey inspired by the tragic mountain climbing accident occurred to their frontman and mastermind  Francesco Paoli , in 2021.

Due out  August 23rd  via  Nuclear Blast Records ,  Opera  is structured like a 10-act theatrical piece, as the title itself,  Opera , draws a clear thread with the everlasting tradition of Italian classical music theater combining it with the epic brutality of death and symphonic metal, which has become their trademark sound. Mixed and mastered by Grammy-nominated producer  Jacob Hansen  (Volbeat, Epica, Arch Enemy),  Opera  definitely marks another step forward for the band, incorporating new suggestions into that unique blend that  FLESHGOD APOCALYPSE  are renowned for: sheer violence, majestic orchestrations and soaring melodies. Such an ambitious musical endeavor called for an equally impressive artwork, a team effort between two arising Italian talents (artist extraordinaire  Felicita Fiorini  and visionary photographer  Francesco Esposito ), following the path traced by baroque painters like Caravaggio and Artemisia Gentileschi. The cover art portrays Veronica as Music, a superior entity that defeats the social and artistic decay of modern age.

With this new record,  FLESHGOD APOCALYPSE  are setting the bar even higher than before, pioneering what looks like a completely new sub-genre that might be called “Opera Metal”: an unprecedented mix of extreme music and theatrical elements.

“ The best stories always come from pain, it’s a bitter truth yet undeniable .”  Francesco   P.  states. “ We managed to turn one of the worst things in life into a work of art, that embodies our personal and artistic growth and takes the listeners on a rollercoaster of emotions, where they can experience what I’ve been through hand in hand with me. It’s a waking nightmare but that’s how life is sometimes, just scary. ”

Francesco P.  continues: “ In my visionary representation of this journey, that begins with my near death experience and culminates in a much desired physical and psychological rebirth, I wanted to frame every single step of my calvary, as if they were acts of an “Opera Lirica”, with dialogues or even confessions to imaginary characters, who have been constant presences throughout my whole (mis)adventure .

This album tosses you in a vortex of discomfort and uncontrollable feelings, where you can experience pain, fear, desperation, anger, frustration, but also resolve, courage, hope and a profound desire for redemption. I strongly believe that this album is a solid manifest of resilience, and I hope that my story will inspire people who got “lost” for whatever reason.

We can’t wait for you to hear the full album and play it live at the four corners of the world. We’re planning to take everyone to “Opera” with a massive new show, so get ready! ”

Pre-Order  Opera : https://fga.bfan.link/opera

With the album’s announcement comes the new single ‘ Bloodclock ’, a roaring song seething with anguish, pain and visionary tales of life and death.

Stream “Bloodclock’ here :  https://fga.bfan.link/bloodclock

Francesco P.  says of the new song:

“ What do we see right before we die? Well, with ‘Bloodclock’ I bear my witness and reveal the personal visions I had while hanging on a rope, unconscious, a few hundred meters above the ground. It’s insane how reality can be much more terrifying and soul crushing than  imagination.

Soon after my discharge from the hospital, me and Francesco Ferrini started writing immediately, even if I was still bedridden and unable to play. The idea was to capture the mood of those dramatic days and make sure to keep intact the sense of desperation and fear that was still running through my veins after the accident. Later on, we worked with the others to develop those ideas and create the music that such a strong story deserves, music that takes your breath away and tosses you into a vortex of mixed feelings and discomfort. I believe we nailed it 110%.   

And the video is a spectacular representation of that disaster. I pushed Martina (McLean, video director) to the limit because I knew she could find a poetic, metaphorical yet extremely impactful way to match the fury of the song with awe-inspiring images. She did an amazing job and we’re proud to state that this is the best music video we’ve ever had in our career. “

“ But this song is not only about death, it’s also about life. ‘I’m not dead yet’ was some sort of  mantra that became my battle-cry. The moment I woke up, I started my war to stay alive, that with time turned into a true and never-ending calvary as I’m still carrying the cross for what happened that day. But this is another story and its time is yet to come… ”

FLESHGOD APOCALYPSE’s  new single, follows the previously released song ‘ Pendulum ,’ a video for which can be seen here:  https://youtu.be/Lkv9v-W5PAY

Opera   Tracklisting:

1. Ode to Art (De’ Sepolcri) 2. I Can Never Die 3. Pendulum 4. Bloodclock 5. At War With My Soul 6. Morphine Waltz 7. Matricide 8.21 8. Per Aspera Ad Astra 9. Till Death Do Us Part 10. Opera

About  FLESHGOD APOCALYPSE :

Formed in 2007, Italian Symphonic Death Metal maestros Fleshgod Apocalypse are finally back with their sixth and brand new album titled “Opera”, a gut-wrenching musical journey inspired by the tragic mountain climbing accident occurred to their frontman and mastermind Francesco Paoli, in 2021:

“The best stories always come from pain, it’s a bitter truth yet undeniable” says Francesco.

“That’s why human struggles have always been an unending source of inspiration for artists throughout history. But one thing is creating art that gives voice to someone else’s tribulations, another is accepting to bare your soul to the world and reveal your weaknesses and frailties, while attempting to turn them into new resources for your own creativity. It’s a dangerous game, since we never know what our twisted mind has in store for us, but it’s a game you must play if you really want to bring your art to the highest level and leave a trace that has a deeper meaning, not just mere entertainment for distracted people.

After my fall while mountain climbing, I woke up in a hospital, underwent several surgeries, constantly getting terrible news and spending many months not knowing if I would ever be able to play an instrument again. I felt condemned. Fear, painkillers, wheelchairs have been daily food for my frustration. Retracing what happened that day, as well as the days, months, years after, has been such an exhausting and frightening journey, in which I had to face my demons once again and deal with memories I hoped I had left behind.

Was all this worth it? Let the others tell. All I can say is that, although it was clear that this was the right thing to do, we could not even remotely imagine how strongly this process would have affected our songwriting, igniting our creativity and reinvigorating our attitude after years of deep coma due to the pandemic. We managed to turn one of the worst things in life into a work of art, that embodies our personal and artistic growth and takes the listeners on a rollercoaster of emotions, where they can experience what I’ve been through hand in hand with me. It’s a waking nightmare but that’s how life is sometimes, just scary.”

The whole album is structured like a 10-act theatrical piece, as the title itself, “Opera”, draws a clear thread with the everlasting tradition of Italian classical music theater and its icons, from Giuseppe Verdi to Giacomo Puccini, combining it with the epic brutality of death and symphonic metal, which has become their trademark sound.

On the trail of such powerful heritage, embodied by Veronica Bordacchini’s outstanding vocal performance, each chapter enlightens a different angle of Francesco’s story, both musically and lyrically.

Francesco adds:

“In my visionary representation of this journey, that begins with my near death experience and culminates in a much desired physical and psychological rebirth, I wanted to frame every single step of my calvary, as if they were acts of an “Opera Lirica”, with dialogues or even confessions to imaginary characters, who have been constant presences throughout my whole (mis)adventure.

Death, Life, Hope are among these entities, masterfully interpreted by Veronica, that from time to time assist or prevent me from digging deeper in my memory and personality, examining objectively my emotional states and behaviors and finding a sense to all this.

This album tosses you in a vortex of discomfort and uncontrollable feelings, where you can experience pain, fear, desperation, anger, frustration, but also resolve, courage, hope and a profound desire for redemption.

In fact, besides being grateful for the privilege of sharing my personal experience through Fleshgod Apocalypse art, I strongly believe that this album is a solid manifest of resilience, and I hope that my story will inspire people who got “lost” for whatever reason. Since the accident I’ve been posting on socials about my rehab and received hundreds of messages of appreciation for that. People need motivation, need examples that can make them restart believing in themselves. And for me, this is part of the game, this is the best way I can give them something back after all these years of loving support.

Life is a wonderful thing, even when everything around us seems to be falling apart we must find a meaning for existing and, unexpectedly, sometimes second chances can be way more exciting than the first ones.”

Mixed and mastered by Grammy-nominated producer Jacob Hansen (Volbeat, Epica, Arch Enemy), “Opera” definitely marks another step forward for the band, incorporating new suggestions into that unique blend that Fleshgod Apocalypse are renowned for: sheer violence, majestic orchestrations and soaring melodies.

While showcasing new maturity in songwriting, the album retains a strong stylistic bond with the band’s previous efforts, from the furious blast beats of “Mafia” and “Agony” to the epic, grandiose atmospheres of “Labyrinth” or “King”, along with the unquestionable technical prowess that made “Oracles” and “Veleno” instant classics among fans of the genre.

Such an ambitious musical endeavor called for an equally impressive artwork, a team effort between two arising Italian talents (artist extraordinaire Felicita Fiorini and visionary photographer Francesco Esposito), following the path traced by baroque painters like Caravaggio and Artemisia Gentileschi.

Born in 2007, Fleshgod Apocalypse quickly established themselves among the leaders of symphonic death metal.

As of today, some of their most acclaimed releases such as “Agony” (2011) or “King” (2016) are still considered milestones by fans and critics alike. With this new record, they’re setting the bar even higher, pioneering what looks like a completely new sub-genre that might be called “Opera Metal”: an unprecedented mix of extreme music and theatrical elements.

For sure, this won’t sound surprising for anyone who has witnessed one of their intense live performances.

The band is now preparing a huge worldwide touring campaign in support of this new masterpiece.

Fleshgod Apocalypse are now ready to take everyone to “Opera”.

Follow  FLESHGOD APOCALYPSE :

https://shop.fleshgodapocalypse.com https://www.facebook.com/fleshgodapocalypse https://www.instagram.com/fleshgodofficial https://www.youtube.com/@FleshgodApocalypse

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Fleshgod Apocalypse

​Fleshgod Apocalypse tour dates: 27 concerts in 2 countries

About fleshgod apocalypse.

Fleshgod Apocalypse is an Italian heavy metal band. Formed in 2007, the group resides in Perugia and are currently signed to Willowtip Records and Nuclear Blast. They have released four full-length albums, most recently King on February 5, 2016.

• Oracles (2009)
• Agony (2011)
• Labyrinth (2013)
• King (2016)
• Veleno (2019)

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Past Events

Here are the most recent UK tour dates we had listed for Fleshgod Apocalypse. Were you there?

January 2023

• Mon 16 Jan London, The Underworld Fleshgod Apocalypse Omnium Gatherum, W.E.B.
• Mon 16 Jan Manchester, Rebellion Fleshgod Apocalypse
• Sun 15 Jan London, The Underworld Fleshgod Apocalypse W.E.B.

October 2022

• Sun 2 Oct London, The Underworld Fleshgod Apocalypse

October 2021

• Sun 3 Oct London, The Underworld Fleshgod Apocalypse

October 2020

• Sun 4 Oct London, The Underworld Fleshgod Apocalypse

February 2020

• Mon 17 Feb Milton Keynes, The Craufurd Arms Fleshgod Apocalypse
• Sun 16 Feb Manchester, Rebellion Fleshgod Apocalypse, Bloodshot Dawn
• Sat 15 Feb Glasgow, Slay Fleshgod Apocalypse, Bloodshot Dawn
• Thu 13 Feb Leeds, The Key Club Fleshgod Apocalypse, Bloodshot Dawn
• Wed 12 Feb Bristol, The Fleece Fleshgod Apocalypse, Bloodshot Dawn

December 2019

• Thu 5 Dec London, Electric Ballroom MTV Headbangers Ball Tour 2019 Kataklysm, Whitechapel, Fleshgod Apocalypse, Dyscarnate

October 2017

• Fri 6 Oct → Mon 9 Oct Brighton, The Arch Mammothfest 2017 Rotting Christ, Tsjuder, The Infernal Sea, Vehement, Ethereal…
• Sat 1 Apr → Sun 2 Apr O2 Academy Edinburgh Heavy Scotland Behemoth, Grave (1), Fleshgod Apocalypse, Havok, Warbringer…

January 2017

• Thu 19 Jan London, The Underworld Fleshgod Apocalypse, Carach Angren, Nightland
• Thu 17 Mar London, The Underworld Fleshgod Apocalypse, Xerath, Hades Lab
• Wed 16 Mar Bristol, The Fleece Fleshgod Apocalypse
• Tue 15 Mar Manchester, Sound Control Fleshgod Apocalypse
• Sun 13 Mar Glasgow, Audio Fleshgod Apocalypse
• Sat 12 Mar Leeds, The Key Club Fleshgod Apocalypse
• Thu 10 Mar Wolverhampton, Slade Rooms Fleshgod Apocalypse

August 2015

• Thu 6 Aug → Sun 9 Aug Walton On Trent, Catton Hall Bloodstock Open Air 2015 Trivium, Sabaton, Overkill, Ihsahn, Enslaved…

November 2014

• Fri 7 Nov London, The Underworld Insomnium, Fleshgod Apocalypse, Stam1na
• Thu 6 Nov Birmingham, Alfie Birds & The Oobleck Insomnium, Fleshgod Apocalypse, Stam1na

January 2014

• Sat 18 Jan Kataklysm, Krisiun, Fleshgod Apocalypse
• Thu 16 Jan Belfast, Voodoo Kataklysm, Krisiun, Fleshgod Apocalypse
• Thu 16 Jan Belfast, The Limelight Kataklysm, Krisiun, Fleshgod Apocalypse
• Wed 15 Jan Glasgow, The Classic Grand Kataklysm, Krisiun, Fleshgod Apocalypse
• Wed 15 Jan Glasgow, Audio Kataklysm, Krisiun, Fleshgod Apocalypse
• Tue 14 Jan Manchester, Sound Control Kataklysm, Fleshgod Apocalypse, Krisiun
• Mon 13 Jan London, The Underworld Kataklysm, Krisiun, Fleshgod Apocalypse

October 2013

• Mon 14 Oct Plymouth, The White Rabbit Fleshgod Apocalypse, Hate
• Sun 13 Oct Leicester, The Shed Fleshgod Apocalypse, Hate, Bound By Exile, Scordatura
• Thu 10 Oct Wakefield, The Snooty Fox Club Fleshgod Apocalypse
• Wed 9 Oct London, The Boston Arms Fleshgod Apocalypse, Hate, Bound By Exile, Scordatura
• Mon 7 Oct Liverpool, Grand Central Hall Fleshgod Apocalypse, Anaal Nathrakh, Metastasis, Bound By Exile, Nekrodrako
• Wed 14 Mar Cardiff, Bogiez Fleshgod Apocalypse
• Tue 13 Mar Derby, The Old Bell Hotel Fleshgod Apocalypse
• Wed 7 Mar London, The Crown Fleshgod Apocalypse, Dyscarnate, Bloodshot Dawn, Ageless Oblivion, Saturnian
• Tue 6 Mar Plymouth, The White Rabbit Fleshgod Apocalypse

January 2012

• Sat 28 Jan Bristol, The Fleece The Black Dahlia Murder, Skeletonwitch, Fleshgod Apocalypse
• Thu 19 Jan Sheffield, Corporation The Black Dahlia Murder, Skeletonwitch, Fleshgod Apocalypse
• Tue 17 Jan Nottingham, The Rescue Rooms The Black Dahlia Murder, Skeletonwitch, Fleshgod Apocalypse, The Vectors
• Thu 19 May Derby, The Old Bell Hotel Fleshgod Apocalypse
• Sun 27 Mar London, The Crown Sonic Obliteration, Fleshgod Apocalypse, Ted Maul, Ageless Oblivion, Bloodshot Dawn
• Wed 9 Mar O2 Academy Birmingham Dying Fetus, Keep Of Kalessin, Carnifex, Annotations of an Autopsy, Fleshgod Apocalypse, Angelus Apatrida Annotations Of An Autopsy…
• Tue 8 Mar London, O2 Academy Islington Dying Fetus, Keep Of Kalessin, Carnifex, Fleshgod Apocalypse, Angelus Apatrida, Burning The Masses …
• Fri 2 Apr O2 Academy Birmingham Annotations of an Autopsy, Nervecell, Fleshgod Apocalypse, Burning The Masses Annotations Of An Autopsy
• Thu 1 Apr Leeds, Rio's Annotations of an Autopsy, Nervecell, Fleshgod Apocalypse, Burning The Masses Annotations Of An Autopsy
• Tue 30 Mar London, The Underworld Annotations of an Autopsy, Nervecell, Fleshgod Apocalypse, Burning The Masses, Suffocation Annotations Of An Autopsy

November 2009

• Sat 28 Nov Sunderland, Independent Fleshgod Apocalypse, Ingested
• Thu 26 Nov Birmingham, Eddie's Rock Club @ BUSK Fleshgod Apocalypse, Ingested, Arkane, Tread The Blood, Odessa Massacre
• Sat 21 Nov London, The Underworld Fleshgod Apocalypse, Xerath, Traces, Mercygiver