Fleshgod Apocalypse's
'KING'
"We should all hail the King who lives inside every one of us"
The album ‘KING’ takes barbaric manipulations from a 19th century court to reflect on the poisonous nature of contemporary society, with the King representing honour and the good within us all.
The costume design looks to the Opera Seria movement, utilising its respect of the monarchy, classical themes of morality, Grecian drapery and plucked manipulative instruments to express the character's tactics and overall aesthetic. Character through the body-line is expressed further through anatomical referencing, shadow casting and spreading poison.
Songs designed for:
In Aeternum. (The king, The King- changed)
The Fool. (The Court Jester. Jester as King)
And the Vulture Beholds. (Prince, Prince as King, Courtesans, Crook)
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Research and Inspiration Moodboards
Further Concept Information:
“[The]downfall of our own society in an era that looks more like the middle ages than the 21st century”.
The King in this text is represented as a wise, brave, respectable and honourable figure at court, a representation of not only the good in all of us (as human beings) but also as an embodiment of the responsibility of a leader. The narrative focuses on said leader and his attempts to influence his relevant world and to prevent its impending collapse. The album, as its predecessors, is divided into metaphorical operatic ‘acts’; each song is a chapter from an overarching tale. With this particular piece of music, the chapters are divided into various characters at court. Each character symbolises an element of human darkness and act of life that may endanger humble, honest and moral values. Each character attempts to influence the king and his power for their own personal gain. With this attempted demise of the monarchy, the product however is not personal gain but the reveal of selfish desire and a naivety in regards to the true responsibility and positive symbol the king represents.
Despite the stated historical setting (around 1830) Yan chose to take forward her interpretation and design work with a blend of influences. Using Opera as a stepping stone, she took visual and sociological influence from the era of the Opera Seria and the Arcadian Poets. This movement took its values from the ancient world and roman culture. This is expressed in its removal of comic elements, mythological ideals, simple but classic tragic plotlines, appraised themes of loyalty, friendship and dedication and celebration for the power of the sovereign. Motifs and embellishment for the king and drapery are inspired by the ancient world, as he remains the only character with said moral enlightenment.
Working further with Opera as a visual influence, Yan decided to portray the action as an evolution from royal court to Opera performance within a theatre. The individuals as characters from the opera they are embodying and the king as performer. This is to draw social parallels across multiple eras and secondly to show reflection and desire for a time where the king would have gained respect. The physical elements of opera will also be incorporated into the costume, especially in regards to the construction of the set, musical instruments, and use of space and acoustics.
Key lyrical themes within the album focus around anatomy, poisonous infestation and dramatic contrasts in shadow and light as power and deceit. These will be key conceptual visuals, in pattern, colour and silhouette. Aiding with digital effects to create a secondary form from shadow in the candlelit set. Yan's core colour pallet comes from the album art itself. Using: Dark red, a Royal red, Black, Crème, Gold, and flesh tones, with a highlight of lavender blue acting as the poison.
© 2020 by Yan Smiley, all rights reserved.