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Labyrinth

4.6 out of 5 stars 31 customer reviews

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Audio CD, August 20, 2013
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Editorial Reviews

2013 epic masterpiece from the Italian Symphonic Death Metal band. The album was produced, mixed and mastered by Stefano Morabito at 16th Cellar Studio and hones in on the band's unique traits, giving fans everything they could hope for and more. Colin Marks created the cover artwork, as well as several pieces of art for a massive inlay.
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Product Details

  • Audio CD (August 20, 2013)
  • Original Release Date: August 20, 2013
  • Number of Discs: 1
  • Label: Nuclear Blast
  • ASIN: B00DPKQ6FA
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (31 customer reviews)
  • Amazon Best Sellers Rank: #33,626 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

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What a monster of an album this is. "Agony" was a masterpiece, this is something even beyond (if that's even possible). I should make a note right away that if you're not into the symphonic and operatic sounds that Fleshgod so deftly mixes into their intensely brutal tech-death-metal, well then you probably won't like this album. What might annoy you even more is Paolo Rossi's wailing banshee "operatic" vocals, which sound more like an opera singer being murdered somewhere in the blackest of night. Right from the first track "Kingborn" they hit you with the operatic vocals, lush symphonic movements that wash over you in waves. By the time you get to the second track "Minotaur" you are start thinking this shit is serious, this is metal that will be talked about 25 years from now, this will join the pantheon of epic metal recordings we hail today as genius.

It occurs to me that I should point out the driving, intense metal is NOT some kind of loose reference in this recording, it's not in the background or a second thought. Neither is the operatic/symphonic/piano elements. As the artists have stated in many an interview, this is a painstakingly assembled recording. The drums -- the drums! they sound like .50 cal machine guns, so intense -- the drums, guitars, bass, all is mixed to perfection. I can't imagine anyone but Cristiano Trionfera on vocals, his guttrals give so much punch and dynamism to this album. I've read a few comments from Internet trolls saying the guitars are mixed too low. Rubbish.

I have to admit that this is the only symphonic death metal band I listen to; I'm generally not a fan of the subgenre, mainly because I find symphonic music challenging to listen to. My taste in metal is pretty straight forward.
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I'm new to Fleshgod, I first got into the symphonic movement with Septic Flesh.
I started right at the beginning with Fleshgod and the masterful Oracles and worked my way up to the pummeling Agony.
I was eager to hear how the band would evolve on the new album and I'm pleased to write that the intricate guitar work from Oracles has wiggled its way into the orchestral madness.
Every song is a stand out.
Like Agony it takes multiple spins for this one to really sink in.
I'll be honest, I hated Agony the first time I heard it.
Same with Labyrinth...so I kept spinning the stream online the band put up and after about the third listen it really sank in.
I immediately purchased the disc.
Spectacular production.
Mixing this kind of death metal must be a daunting task but it was pulled off amazingly well.
Symphonic.
Intricate.
Majestic.
Brutastic
Recommended.
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Format: Audio CD
Some say that you cannot have a successful life of achievement without first having to enslave or ruin the life of another. Fleshgod Apocalypse wishes to remind us of that. This Italian band has created a dramatic soundtrack to the brutality of the human condition, what man does to himself and his fellow man in order to fulfill his own desires. Would it not be fitting for such a subject, long since rendered in the classical arts, to be accompanied by a dramatic symphonic score?!

The release of Labyrinth marks the next milestone in Fleshgod Apocalypse's career. Having been blown away by their previous effort Agony, I was quite surprised to see the group ready to release another monumentous work this summer. Already released in Europe, I happened to get my copy early when Fleshgod Apocalypse came with Wintersun to my local area and I got to see the masters in person. It meant having to miss part of Wintersun's set, but it was worth it to get to meet the band themselves, particularly the pianist Ferrini. Their show was amazing! They had their tuxedos and their guitars were polished wood with f-holes just like violins (nice touch)! I was also surprised to see the female opera singer Veronica who did studio vocal acrobatics for Agony on stage with the band on tour in a black robe and feathered masquerade masks. It all was a rather gothic visual setup, but you would not know it from the violent mosh pit they got out of the crowd!!! Anyways aside from meeting and chatting with the band, I was able to get a copy of Labyrinth they had brought with them from Europe which was very cool! I took it home, crashed out of exhaustion, woke up the next morning and immediately put that disc on my stereo and got ready for the incredible onslaught that was sure to come...
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Full disclosure here, this usually isn’t my cup of tea. I love all types of metal and rock, but could never get into technical death metal. It wasn’t the harsh vocals, because they’re excellent, it was the music itself. There’s so much talent in the metal community, and tech-death is no exception. I just get bored of listening to tedious blast beats and unmemorable compositions. I would listen to an album and nothing would stand out. I’ve searched many tech-death bands to find something that breaks away from the constraints of the genre, of producing the heaviest, fastest music possible. With Fleshgod Apocalypse’s newest installment, I stand corrected.

I’ve listened to some of Fleshgod’s previous albums, Oracles and Agony. I found much of those albums to be repetitive, but enjoyed much more from the latter. With Labyrinth, the band has a more prominent symphonic sound. The fact that this album is a concept album, based on the labyrinth of Knossos in Greek mythology, adds a great dynamic to the already impressive elements of this album. Who wouldn’t love a guy screaming in your ears about battle axes and Minotaurs? I know I sure would. Metal and symphony is like a fat sack of weed and a bacon donut, you just can’t not enjoy it. By the way, do not, I repeat, do not listen to this album stoned, epileptic seizures may ensue.

This album is incredible, not only because of the symphonic elements, but the musicianship that these guys illustrate is incredible. Don’t believe when others say the symphonic elements overpower the bands contributions, because that’s not true. They mesh nicely, in a very sophisticated fashion. Francesco Paoli’s drumming really stands out on this album for me. There’s more diversity than I witnessed on previous releases and there is no filler on this album.
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