Come out of the blue and lead by talented Alexander Torres, the US entity known as FLESHVESSEL belongs to those few, illuminated contemporary acts that don't fear to experiment with metal music, harmonizing it with other genres and mutating it into something entirely new without compromising its stylistic prerogatives or emotional connotations.
In “Bile of Man Reborn”, the band's debut EP, the dark and slanted death metal of PHLEBOTOMIZED and DEMILICH often gives way to atmospheric parenthesis where a classical instrumentation of whistles, flute, viola, harp and keyboards embroiders rich textures of luminous elegance, celebrating the conciliation of the opposites.
“Bile of Man Reborn” is one single 24-minute long track divided into three chapters, an impressive suite of mutant death metal where furious and scorching riffs, cavernous growls and sledgehammering drums are interwoven to jazz-fusion and progressive melodies. The first part of the track sounds as if FLESHVESSEL had dug up the putrefied cadaver of MAHAVISHNU ORCHESTRA for one last spiritual journey of theirs, while the second chapter is a chamber music observation, with sparse notes of piano and wind instruments anticipating the return of devastating death metal guitars, engaged in powerful riffs or searing solos dissolving into delicate freak-folk arpeggios before a final crescendo of poignant beauty.
Like in Alexander Torres' own words, FLESHVESSEL's “Bile of Man Reborn” is “an exploration of the human condition and our infliction of duality upon the world. The music is representative of the confusion, suffering, and anger we all see and experience daily, but also the hope that still remains."