Fleshbore – Painted Paradise Album Review

Fleshbore’s Painted Paradise, dropping January 24 via Transcending Obscurity, is a blistering assault on the senses from start to finish. From the opening riff and drum beat, this album makes it clear it’s here to take things to the absolute extreme. There’s no easing into this one; Painted Paradise grabs you by the throat and doesn’t let go. Every track is a masterclass in meticulous songwriting, with rhythm guitar riffs so intricate and fast they could almost pass for leads. There isn’t a single moment on this album that feels like it wasn’t laboured over to perfection.

Hailing from Indianapolis, Indiana, Painted Paradise marks their second full-length release and follow-up to 2021’s Embers Gathering. This is one album I’ll be coming back to again and again.

Let’s talk bass. One of my favourite aspects of this entire album is how present and prominent the bass guitar is. This is no …And Justice for All situation. There will be no future debates about “Where’s the bass?” because Cole Daniels absolutely makes himself known. His work on this album isn’t just backing; it’s a core part of the experience, with moments where the bass takes centre stage and adds layers that elevate the songs to a new level.

The vocals are another standout. A mix of goblinesque pig squeals and dirty gutturals, they feel like a perfect fit for the controlled chaos of the music. Michael O’Hara delivers a performance that rides the line between unhinged and precise, matching the intensity of the instrumentation every step of the way. It’s a visceral experience, one that pulls you into the madness and makes you want to stay.

Let’s get into the tracks. The opener, Setting Sun, kicks things off with a blistering riff and pounding drums that immediately set the tone for what’s to come. It’s fast, aggressive, and relentless—a perfect introduction. Track two, The World, gives the bass some room to shine, and the interplay between instruments here is nothing short of jaw-dropping. Then there’s Target Fixation, track three, which opens with what feels like a psychotic break in audio form before moving into a riff-heavy chugfest that feels like a release from all the chaos. It’s like stepping outside of yourself and screaming away all the bullshit in life.

Track four, Wandering Twilight, offers a brief slowdown—well, for about 45 seconds—before the band cranks it right back up with a barrage of rhythm guitar changeups and technically precise leads. By the time we get to The Ancient Knowledge (track six), we’re treated to vocals that could put The Rap God to shame. The lyrical delivery is like a blast beat of its own, perfectly riding the wave of the instrumentals in one of the most relentless tracks on the album.

The penultimate track, Painted Paradise, opens with atmospheric sounds and a bass-line that immediately hooks you. It builds slowly, layering in guitars and drums before launching into a mix of melodic and technical leads. It’s one of the more melodic tracks on the album, but it doesn’t let you forget you’re listening to a death metal juggernaut.

The closer, Laplace’s Game, doesn’t let up. It’s a fitting end to the album; a gut-punch of riffs, blast beats, and pure aggression that leaves you gasping for air. It’s not a rage-filled album, though. It’s more like a band exorcising their demons through music. There’s fury and aggression here, but it’s controlled, channeled into something cathartic rather than chaotic.

I can’t stress enough how much I love this album. The production is stellar. Every instrument is present and accounted for, even when one takes the spotlight. The mix is balanced, full, and leaves nothing to be desired. If you’re a true fan of death metal and appreciate musicianship and technical chops, Painted Paradise is a must-have for your collection.