Bloodtruth Obedience 01Here at Angry Metal Guy, we love Fleshgod Apocalypse. Well, maybe not love… and sometimes not even very much like. It’s a complicated relationship. But one thing we can agree on is that Oracles is kickass. Its sultry fusion of tech-death and neoclassicism was a winning move that everyone, including Fleshgod Apocalypse somehow failed to follow up on properly. But of course, there are those few who malign such progressive elements, and thus ask the question, “What would this band sound like if they just wrote death metal?” To which the answer is, of course, Hour of Penance. Which immediately puts Bloodtruth in a tough spot.

What began as a side-project of Francesco Paoli and Paolo Rossi has now shed both of its Fleshgod-embedded members, and not lost a single beat. The result is a band that sounds just like you’d expect, except worse in every way. Obedience is one of the least interesting, least nuanced, and worst-produced death metal albums in recent memory, saved from superlatives only by the lighter-fluid drenched bag of excrement that is Autokrator.

“Subvenite” warms up up the disappointment stew with a minute of ironically included Gregorian chant, which, unlike saxophone, has never, ever improved a metal album. The following track is the album’s first actual song and it doesn’t fare much better. A mess of half-assed Nile riffs (half-assed Nile riffs are all the rage these days) and insufferable drumming called “Surrounded by Blind Bigots” kicks off the album proper, and while the song alone isn’t offensive, 30 minutes of that same song interspersed with Gregorian chant is. It will eventually dawn on the listener that Bloodtruth want to set themselves apart from other bands by not being fans of the Catholic Church. As you might imagine, an anti-christian identity is second only to a pro-Lovecraft identity in terms of how poorly it differentiates death metal bands. Criticizing Catholicism head on might have been edgy in the ’90s (to be clear, not the 1990s: the 1790s), but in a day and age where the pope is pro-gay and anti-child abuse, it’s not just passé but completely out of season. Which, it turns out, is a good way to describe this album; it feels like it could have been made at any point in the last ten years and it would have still been as tasteless and unremarkable as it is today.

Bloodtruth Obedience 02

Compounding Obedience‘s tired concept and lackluster writing is the album’s production. Engineered by Francesco Paoli and Cristiano Trionfera, it has all of the trademark badness of Fleshgod Apocalypse: it’s super loud (DR3 across the board save for the opener), sounds glossy and overwrought, and though Bloodtruth names a one Giacomo Torti as their drummer, I honestly don’t think he ever appears on the album. Every single drumbeat has been replaced with some abhorrent facsimile of an actual instrument and every hit of the snare sounds identical, as does every bass drum click. There are about fourteen thousand of each on Obedience, so get used to pain and boredom.

When the album finally comes to a close, the band breaks out a single decent riff – one of the album’s simplest, unsurprisingly, which, equally unsurprisingly, I’m pretty sure was lifted from “Retrieving my Carcass.” Not content to do something right on such a remarkably uniform album, the band plays it to death and uses it to feature those incredibly bad drums, and thus Obedience comes to a dismal close. Obedience is a response to a question no one asked that has already been answered, and suffers in accordance with its less-than-immaculate conception. Everything about it is either boring or bad and it looks like a failure even within its incredibly spotty genre. It is easy to hate, but even easier to overlook, and I suggest you do the latter.


Rating: 1.0/5.0
DR: 4 | Format Reviewed: 320 kbps mp3
Label: Unique Leader Records
Websites: facebook.com/bloodtruth
Releases Worldwide: September 16th, 2015

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  • brutal_sushi

    As a Fleshgod apologist (I fucking LOVE Agony and Labyrinth) I do have to say this album is absolute thrash.

  • Hammersmith

    You had me excited in the first paragraph with the mention of Oracles, and then it was the equivalent of watching someone fall down the stairs, but with words.

    • Elton Chagas

      Watching someone falling down the stairs its more interesting than this album, I’m sure.

      • Kronos

        ^can we feature this?

        • Hammersmith

          I would click on it.

  • I’m not a big fan of this record, but It’s not a 1.0 bad, It’s like 2.0 or 2.5, I mean c’mon

    • Kronos

      When you listen to as much death metal as I have to listen to, things start to spread out along the quality scale.

      • I might be wrong tho, that simple track was kinda “go back and listen again” type of music, and that’s something it could rarely be seen in death metal albums, at least for me. In comparison to Fleshgod Apocalypse, you are right I mean it’s shit, but speaking generally it’s not that bad.

  • Carlos Marrickvillian

    Sheesh it’s like you guys only give really good, bad or neutralish reviews anymore!

    • We’re all elitist hipsters.

      • Carlos Marrickvillian

        Is this review gluten free?

        • basenjibrian

          They are Death Metal Vegans!

  • Feytalist

    What’s with this page’s url name.

    • Technical issues and typos. Try to ignore it.

      • Feytalist

        INCONCEIVABLE

        But really, I’d keep it. It’s close enough to “bollocks” as it is :D

  • Elton Chagas

    Once again nice logo, nice cover art, nice album name… FUCKING bad music!

    For metal’s sake, WHEN WILL THIS END?!?

  • Alexandre Barata

    I’m not overly attached to Fleshgod, so when people say “this is like FA but without being so good” I tend to give it a shot. But this can be even worse than Fleshgod!! Listen to those riffs, I don’t know how to play a guitar but if this is what’s like to do it, then it might be easy to learn :) Total rubbish

  • AlphaBetaFoxface

    This record kinda reminds me of pomegranates.

    I don’t like pomegranates.

  • Juan Manuel Pinto Guerra

    I’ve said this before and I’ll say it again: Whenever I read a review bashing so utterly the music I can´t help but feel compelled to listen to it to find for myself if it´s actually that bad.

  • Juan Manuel Pinto Guerra

    I just realized the three robbed guys on the album cover are standing on Fleshgod Apocalypse’s Labyrinth’s cover.

  • Francesco Bordoni

    Premise: These guys are from around my parts; I’m friend and even played (in the past) with the drummer – one of the tightest and most passionate musicians I’ve ever known. Upon reading this review yesterday I was a bit disappointed and properly – I’d say – butthurted. I loved this full-lenght when it came out in 2014, a 3.5, even a 4.0 in my books, listened to them several times live and enjoyed the hell out of it.

    Now, back to my reading of this review: after several hours of grumpiness I eventually overcame the temptations of the Flame-Demon™, formulating my first reasoned response: “1.0? Was I blinded – in my judgement and enyoing of this record – all this time, by the fact that they are a local band, and that I know personally some of them?”. So this morning, with a fresh mind, I listened to Obedience again. I loved it still, and I’m still convinced that you, Kronossir, did not at all justice to this band. It’s like we listened to two completely different albums. I’ll now proceed to explain my point(s).

    (a) The riffs. There are good riffs on this album; actually many of them. Of Course, not even close to golden-era-Nile – duh!? – but I found out that comparing every riff with the ones In “Lashed to the slave stick” is not a healthy way to listen to this genre. The riffing is not a flaw in this record; it’s a plus! Some of them really stick with you from the first listen, some other start shining after 3-4 listens, in their complexity. But nope, I didn’t find a single BAD-bad riff in this album.

    (b) I loved the concepts behind the songs. I dare to say that the thing I loved more in this album is, booklet at hand, the conceptual work behind it. Some context to this statement: I think “the pope” being “pro-gay and anti-child abuse” is the cleverest and most dangerous facade the Church has ever raised in front of the world to date. Nothing has changed beneath the surface. Also, you don’t (I presume) live in Italy, so you can’t even begin to understand the amount of blind bigots – see what I did theeeere – and religion-related bullshit a free-thinking person must endure on an everyday basis. Here, it permeates society like a cancer. So when I hear aptly-crafted material like this, I actually enjoy it. A lot. I mean, it’s not like they go “AAAH CHURCH BAD GUUU”: there are references to Giordano Bruno and his martyrdom, and throughout a subtle atmosphere of philosophical nostalgia for the Greek-era philosophy; damn, even the medieval settings are vivid and realistic! I think you totally passed on this lyrical and atmospherical complexity – which is a rarity in this genre, and actually do differentiates these guys from other acts.

    (c) I’ll agree that the production is not stellar, and suffers from this superloudness madness which is flawing good and bad albums alike in recent years. I disagree by the way on your thoughts concerning Giacomo’s drumming, which flawed by the production as it may be, is top notch nonetheless. I think that in brutal death metal, an equally skilled drummer with such diverse and clever ideas, fills and overall style of playing is hard to come by.

    (d) In a genre like this what (for me) sets a band apart from the others is mostly the uniqueness and distinctiveness of the songs, which usually tend to melt into one giant 30-minute-slab of the same riffs over and over again. I will also note how Bloodtruth (for me) is absolutely not the case. Every song has a certain “something” which differentiates it from the rest, and more than half of them are playlist-worthy material which is enjoyable and fun to listen to on their own (and a year later I still find myself coming back to them).

    Nobody has to like anything. I live by the tenet “listen only to what you like or want to listen to”; this is how I can leave my bed in the morning knowing One Direction makes “music”. Also everyone is entitled to their opinions; what I tried to explain here is why in my opinion giving this band a 1.0, and overall a review like this, seems to me like an utterly unfair judgement of their work, given that I rarely disagree with you guys’ reviews – and never completely.

    • Kronos

      I’m sure your buddy is a great drummer, but I don’t think he actually plays on this album. I hate the drumming because it sounds like shit and is obviously canned. You make a good point about living in Italy, which is something I did think about when I considered this album’s concept.
      It’s good to know that this band, no matter how much I don’t like their album, has supporters who do really like their music.

      • Francesco Bordoni

        He actually did play and recorded the album, of that I’m 100% sure. I’m not enthralled either by how kicks and snares sound all over the album, though is an issue I often find in the drums within brutal records; when you reach 280bpm there’s very little way to make double-bass feel “natural”. Anyways: thanks for the replay, and keep up the good work!

    • I’ll second that motion. The linked track is the first I’ve ever heard of this band, and it sounds somewhere between Hour of Penance and Hideous Divinity. At the risk of drawing unreasonable curves through single data points, I’ll venture that the remainder of the album is of at least similar quality, and I’m interested to hear more.

      I will concede that Gregorian chants have not enhanced any metal album, however.

  • Requiem

    OH DEAR GOD I RECOGNISE THE AWFULNESS FROM FGA- LABYRINTH WHY DOES THIS EXIST NO STOP PLEASE I’M DYING I CAN EVEN HEAR HOW FLAT AND AWFUL IT IS THROUGH MY CRUDDY LAPTOP SPEAKERS I WANT TO FUCKING DIE

    • D3Seeker

      Please go ahead