Tommaso Riccardi in an up close and personal show in Amityville, NYC
Fleshgod Apocalypse
are quite easily one of my biggest interest amongst the newer Metal acts in the world. They take
the Symphonic and Orchestral aspects of Metal and push it to a whole
new level, while retaining the technical part of well…Technical
Death Metal. The Italian quintet have always appealed to me from the
same place in my heart that enjoys the likes of Dimmu Borgir (yeah I
know, here stops reading most of my oldschool readership,)
Septicflesh, and Ex Deo, but their ability to infuse Death Metal in
manner in which Metal doesn’t become secondary to the orchestra
while really pushing the classical aspect of the music is one and
unique. On the precipice of releasing the new album entitled
Labyrinth, I got the chance to interview their very down to earth and
striking frontman, Tommaso Riccardi, results (and suits with black
face paint) follow!
Benek- Hello Tommaso! how are you? where
do I catch you?
Tommaso- I’m at my house, been practicing
the whole day so pretty satisfied. I’ve been doing my job (laughs.)
Benek- I know you’re soon departing on tour with
Wintersun?
Tommaso- Wow, I have to say the truth I feel great,
and in the mean time I feel a bit of tension, but this tour is
exciting. I see the promoters and the people in the industry are very
excited about it and I see there’s already good presales , we’re
only a couple of months away from the tour almost so I think it’s
gonna be a blast for everyone. We’re direct support and it’s the
first time we get to do that in the US, although actually we did half
of our last tour supporting Kataklysm in that spot . But not the
whole tour, and in any case, I saw we’re playing some amazing
clubs, a lot of House of Blues so I think it’s gonna be an awesome
tour. I really like the bands, I’ve been following Wintersun for a
while before the tour was announced, it’s good to go on tours where
it’s going on school. You know? because there’s someone that can
teach you the job, because there are some amazing guitar players,
singers and drummer on tour so it’s great. Jari is an amazing
guitarist, and it’ll be very interesting , even just sitting there
and watching them play. Even some good competition.
Benek-
Yeah Jari (Mäenpää) like, sits and masturbates on his guitar 7
days a week, every week, the guy like, hasn’t seen the sun in like
a year. But they’re also very different from you guys, are you
afraid of the different crowds? Especially seeing as Wintersun is
much less heavy than you guys.
Tommaso- I think no, because
there’s two things I’ve been thinking of- I’m sure, this is
actually the sixth tour we’ve been doing there, we have a very good
fanbase in the US and there’s going to be a lot of people coming to
see Fleshgod Apocalypse as well. Also, in my opinion the crowd in the
US is more open minded in a certain kind of way so I think a lot of
guys that enjoy our music will enjoy Wintersun as well. On the other
side as well , I think a lot of Wintersun fans will enjoy Fleshgod
Apocalypse even though it’s true, we’re more brutal and really
fast, but still we have an orchestra, and the songs are actually very
melodic. It’s just a matter of getting used to some 280 BPM blast
beats all the time .
Benek- Just that (laughs)
Tommaso-
We also have some mid tempo! Material for everybody hehehe.
Some…some, I mean come on, at the end of the mid tempo there’s a
300 bpm blast but that’s not a problem. Just the part. We like
both sides of the fields, and you can hear it even in Agony, on the
Deceit and the Egoism in parts it gets onto the groovy side. You can
really find both tempos so I don’t think it’s going to be such a
problem for the people, the fact we’re going fast, I hope there
will be a good balance for everybody.
Benek- So, just
recently it was announced that your new album Labyrinth, is complete,
how do you feel about it?
Tommaso- I feel very good I have to
say, I don’t want to seem too confident but I really feel very
good, I can taste the difference. When we did Agony, we had a very
short time to work on it, we we’re a little bit in a rush for many
reasons. Different time, different situation. It was also the first
time we did something like that, introducing the orchestral
arrangements throughout the whole song , it was very good and we were
very satisfied. We needed to get more experience on that kind of
composition and more time to , I don’t want to say relax because
we’re always working hard but we needed an amount of time to do
whatever we wanted to do and also to experiment with whatever we
wanted to experiment. So this time, it’s been different and this
si why this time it is the right evolution of what we we’re doing
and there’s a balance of what was missing a bit in Agony that you
can feel. There’s a balance, the right moments of tension and
release, an architecture that is working much better than before in
my opinion. I think you can, maybe not in the first listen, but after
a while anybody can see that we had a time and way to work on the
detail to make everything work in a very harmonic way.
Benek-
What is the concept behind the album? Is the Labyrinth the
mythological story in Konossos with Minos, the minatour and circular
buildings… or is it a metaphor?
Tommaso- From the point of view of the lyrics, there’s a
certain chronological order but not completely to the album. The
story obviously is an inspiration for a story regarding everyone. We
took this story to make a metaphor, there’s some things you can
recognize from the actual story of Konossos, especially the story of
Theseus and the way he had to reach the Labyrinth and fight against
the Minotaur. We’ve always liked to talk about human issues. So,
Agony was the story of suffering that is concentrated on the way that
humans can inflict pain on others just for a reflection of their own
pain, this is deeper, this is about this path that everyone has to
take at a certain point. It is the path of growing up , of
recognizing your roots, and who you are. As you know, Theseus was
the son of Aegaeous and he didn’t know in the beginning, his
father left him with his mother who was not the queen, in another
place. He had this child with another woman, so he was not mean tto
be the son of the king. So when he found out he was this descendent
of Athens, so he had to travel to reach Athens and during this travel
he meets some bad people who want to kill him in many different ways
and that’s a representation of the way you use wisdom to overcome
obstacles. He reaches Athens and finds out his father has this curse,
this curse of sending 7 boys and 7 girls to be sacrificed to the
minotaur as a war pledge, for the fact he lost the war against Crete.
But the important thing to me, is that every character in this story
represents a side of this search for ourselves in many ways, and the
many ways people hide from themselves . The character of Minos is the
character of a father who wants to hide his guilt, he was guilty of
the fact that he didn’t sacrifice the white bull for Poseidon, and
exchanging it for one of his own. He was meant to sacrifice it as a
token of gratitude for his dominion of the sea. The Mediterenean. So
the god Poseidon made his wife fall in love with this bull, and
together they made the minotaur. On the other hand is the positive
figure of Theseus , because he discovers he is the son of Aegeous and
he wants to take the responsibility of fighting this war his father
lost, then going to the Labyrinth and fighting this minotaur which
represents the biggest fear of everyone, being oneself and doing what
your heart says. The last thing, which is different from the concept
of Agony, is that in this concept I really liked to introduce
another thing which is the importance of others, of being helped by
others and the importance of relationships with others, especially
men and women. Ariadne, the daughter of Minos she helps Theseus with
this golden thread that can show him the way back from the Labyrinth
and you fight against the minotaur, you might kill him but you won’t
get back without help. This is very important because this represents
that we need the help of others, and that sometimes we escape the
help of others because sometimes we’re afraid to seem weaker but
being stronger even goes through the ability to accept that sometimes
you need to be together with others. Sometimes people are afraid of
love, which is the most important thing. In any case and in anything,
even playing music or doing your job, even putting out your hunger
and making it something positive is using love, in your life and what
you do. It’s very important because otherwise we risk leaving the
minotaur in the labyrinth forever.
Benek- How did you build upon the existing Fleshgod Apocalypse
formula? How does this album innovate?
Tommaso- When you said “Agony, Mafia, Oracles” I realized
their so different from one another, but even there, for me
personally I could recognize the Fleshgod imprint. This time, I would
say it’s the same thing, because you always have the Fleshgod stlye
and recognize it, but like every time we try to evolve this music
because otherwise it’d be boring. We could never accept to just go
there and be like “ok lets do another Agony.” No, that’s not
our way of thinking, we go through an evolution that includes our
experiences,our lives, and music, we listen to a lot of music and
Metal isn’t the only genre that grows with us. We listen to a lot
of things, but we’re really deep inside every kind of music that we
like, there’s only 2 real kinds of music- good music and bad
music. Everybody knows that, but I just want to say it again. We
try to update and listen, try to understand the mechanisms behind the
music. Of course in this case, we are finding our style and you can
hear it. Since Agony, when we introduced the Orchestra and everything
we obviously defined something we haven’t previously, even this
time there’s a lot of surprises in my opinion. Because, this album
has at least 2 or 3 songs considered even an experiment because their
very particular in their way , because their very different in their
way but on the other hand the classic elements of Flashgod
Apocalypse makes you instantly recognize them. Also, there is a
technical and composing evolution of course, because, in Agony there
were many things we already knew we wanted to evolve and change in
some way after a little while. You’re always, if you stop
criticizing yourself you’re done. We always look back at the past
and say “ we could fix this, do this better” and we tried really
to make an album that is a whole story with its balance. You got that
even in Agony but it worked better this time, the balance is very
good and the right amounts and positioning of tension and release so
it’s more mature . Even on the production side, there’s has been
an upgrade we started from what we learned during Agony and in the
meantime, Stefano our producer, worked on different projects and even
on Orchestral music where he knew he was going to use this later when
we were in the studio. I really hope people will like it, but I’m
really confident because I know people will like it.
Benek- So, Agony is the album, alongside the Mafia EP, that
brought the band into the spotlight. You’re about to finish the
cycle with Agony, what does that album represent for you?
Tommaso-
Agony obviously represents something very important. I can
comfortably say that it’s a turning point in our short history. The
band is pretty young. It’s been important because as I was saying,
Agony represents something that led Fleshgod into the beginning of
our style, of course Oracles and Mafia are important and you can
catch the roots. But Agony is a big step, it was the first time we
were using a piano and an orchestra throughout the whole songs, but
it’s the beginning of a new Fleshgod story. But on the other hand
it’s been very important for the industry, because it’s been the
first album with Nuclear Blast and our first big exposure, we also
did an extensive tour on the road for promotion so it’s been a very
important change because it gave us the chance to travel a lot and to
convince people that what we do is good . We’re really always
concentrated on this job, this is the good thing with doing something
that you like, on one hand it’s beautiful because you’re doing
what you like but on the other hand it absorbs you completely. Like I
cannot say there’s one moment, not even when I’m sleeping that
I’m not working in some ways. This is what is Agony, a new
beginning in some way and it’s good we’re continuing on that
route and I’m really confident in this new album and really think
in some way this will be another turning point for us. They always
say the third one is very important, we have to promote this one very
well, and stand the test of time with what we’re doing .
Benek- Was it hard to make this album? Knowing all the stakes
have risen since Agony?
Tommaso- Well, I mean , I can say we have to speak in third
person because as you know, the composition of the music is mainly in
the hands of Francesco Paoli and Francesco Ferrini, they take care of
the music and the arrangements. Then we work all together in the
studio with the lyrics and the arrangements while recording. We
always change in the studio as we realize something can work better
like this or like that. But obviously our main composition process
is in their hands, the good thing is Francesco Paoli is a very
self-conscience and determined person, this is good when you have to
do these kinds of things. Of course there is pressure, and there has
also been in the beginning of this process, but Francesco is really
natural and writing and arranging music is something that really is
his main skill. When you see him work on songs you can see after a
little while, there’s some self-confidence that takes over and he’s
so in love with the music that it’s like a waterfall, it starts
then it’s unstoppable and it’s beautiful. Because I think the one
ability a person who writes music needs to have, and same thing for
Francesco is that you need to be like a kid, you need to be very
focused and have the theoretical knowledge, but you also need to be
like a child: let your imagination grow. I know there’ll be one
moment in which maybe inspiration won’t be the same or whatever but
I also think that that happens most of the time because people decide
to fix in one thing and never evolve. If you let yourself get into
an evolution I think music is like growing up, if you change it’ll
change with you, and if you don’t betray the music, it will not
betray you. So, I ‘ve really seen that during this process and even
in the part I was involved, fear has been smaller than pride. We were
just convinced that we could do better and I really think we did
better.
Benek- Lets go back a bit, how did the band start?
Tommaso-
To me it’s interesting actually, because it’s a cool story. I
joined the band right before Mafia, and the story is pretty
particular- because, first of all- some of the guys in the band are
my friends since a long time for example- Paolo, the bassist I know
since we were three years old. We were in primary school together,
and I know him 27 years. We played in other bands before together,
and at some point he joined Francesco Paoli, who was playing in
another band called T.E.R , doing this kind of classical brutal Death
Metal around 2005. They were playing with other guys and at some
point the band split up and Francesco Paoli had this idea of putting
up this new project with Paolo. At that point they contacted this
guitarist Cristiano (Trionfera) who was from Rome while we all lived
in Peruggia alongside the first drummer from Fleshgod, Francesco
Struglia and they recorded a promo with the first two songs, Embodied
Deception and Infection of the White Throne that we re recorded for
Oracles. Until 2008/2009 they played just a few shows, and Francesco
was singing and playing guitar. He was also singing for Hour of
Penance at the same time, they’re doing very well and we’re still
good friends with those guys. He started as a guitarist and a singer,
but after a little while, right after Oracles, there were lineup
problems and Francesco struggled to find a replacement for Struglia
(God how many Francesco’s! –Benek.) In the meantime, Francesco
(Paoli) and I were working on some music together for fun. At a
certain point his problems with the lineup were continuing and as I
said, Francesco is a particular and determined person, so he started
studying drums after asking me to join the band. So, I know it sounds
crazy, because he never played drums before, so he started drumming
four months and a half before the first show. We’re talking about
playing one of the fastest musical styles in the world, so to me and
in everybody’s collective opinions, it was a crazy decision. I hate
the fact people were pointing fingers and were saying, “ahhh you’re
stupid!” because now it’s been four years and I love the fact
he’s considered a kickass Metal drummer. He shows what
determination and love for something can do, he just started playing
8 hours a day and his only focus was “we have to play these shows.”
We booked the shows when he still learned how to keep drumsticks in
his hands, and he said, “We have to book these shows, because we
need to have a reason for me to make it.” I remember this scene,
after a few weeks, we came back home and his girlfriend was
undressing him before going to bed because he couldn’t move his
arms. The pain was so terrible, but we still rehearsed every day, and
I have to say this , I never had the experience of singing in growl
not even without playing the guitar before that. We had a short
passage where I was playing guitar but not singing in the beginning
because our bassist was singing in the beginning. I was just getting
into the band so there were some things to fix, but actually when I
was supposed to start singing and playing it was a couple of weeks
before the European tour with Vader. So I have a similar experience
to Francesco as I had to learn to be a frontman in two weeks. We
exposed ourselves in a bad way for some time, because when we started
playing we weren’t what you’d call tight, because everyone found
himself in a different position and it was very difficult. But we
tried not to think of it too much and practice 7 days a week , and
you know just focusing on what we were doing , it’s cool to know
and feel that we will be getting better forever if we keep thinking
like this. In the mean time I know we’ve earned a lot of points and
when we play a show there’s a good energy in the show because we
really suffered a lot to do this, we had to do crazy things. Practice
7 days a week, not sleep the whole night and do a couple of car, not
van, tours through the US. Like driving 3,500 miles in 52 hours, it’s
good things to remember, I’ll have something to tell my nephews
when I’m older. Now, here we are. Obviously when we started working
on Agony, and the last component joined the band, Francesco Ferrini,
the pianist, although he worked with us before on some tracks in
Oracles and Mafia. When we got him in the line up, we thought “how
can the shows work now?” and thinking about, but he actually
started being one of the most important parts of the show and his
character is very cool. I found out he’s a very good actor too, I
really like the way he’s on the stage and the way he moves with the
piano. We’re very satisfied with the way the lineup works now.
Benek- The story is incredible in itself, but you know, Italy
isn’t a perfect starting place for a Death Metal band. How do you
feel about the Italian scene, especially when you started in
comparison to now? Any bands you’d like to recommend?
Tommaso-
I would like to start this one, using a sentence I put in one song in
Labyrinth, my favorite quote on the whole album- “fall is the
source of my victory, as there’s no force without a fight.” This
is what I mean when I talk about the fact we come from Italy. We’re
not from some Scandinavian place, and of course it’s harder,
because in Italy you can’t say there is a real scene. I’m not
talking shit about the bands that play in Italy; I have a lot of
respect for them just because this is the situation. The situation is
this because unfortunately, Italy is a very beautiful place but the
inhabitants of this place are a little bit strange. Because we have
this instincts of fucking the other to obtain something. I really
consider myself very lucky, and I know the guys in the band do too,
because we don’t think like this. This is also why unfortunately
we’re forced to play outside the country. Here, there’s a lot of
situations like promoters asking for money of some kids bands that
don’t know how shit works to play the show that will “change
their lives” and all this kind of shit. This way of thinking, it’s
small things but big things, even in the fact they’re not investing
properly in the treatments of the bands when they come. You’re in
Italy and you should show we have the best cuisine in the whole world
and you’re not showing it because you want to save the 20 euros,
this is not the way to do things. If you don’t invest in things,
they don’t grow, and what goes around comes around. This is the
truth, and we can see it because we invested a lot. I’m not just
speaking of tons of money, we’re putting all the money, at least
most of it into what we do. To improve production, writing, the
stage, we want to bring the fucking theater around the world and
we’re not saving one cent if not for investing. That’s the reason
there’s no real scene in Italy, because the mentality is really
bad. It’s very hard to come out of these situations, but on the
other hand coming out from a place that is very difficult is very
stimulating. You know, hard times bring good things so you can get
depressed in this situation, or come out and have the energy to
destroy. I think this is the mood of Fleshgod Apocalypse since the
beginning. This is what b rings the energy, I can see it as I am the
frontman, I look people straight in the eyes and know what they feel,
and what I feel and I know I can transfer this energy and this anger.
This is our job, to communicate something throughout the show what we
are. In my opinion, this thing of Fleshgod Apocalypse started
inspiring some people in this country, and I’m honored by this
because you can’t imagine, I was just a kid with other guys who
wanted to go onstage and kick ass. To me it’s a beauty, I wake up
in the morning and put my hands on the guitar because I know it’s
my duty to bring this to people who made it possible. I see bands who
make it because they say “ we can do it!” Of course it’s sad
some people fall into the trap of jealousy, especially here but you
can’t help it. I don’t get upset about it, but I just get sad
people say certain things. There’s all kinds of rumors around the
band but I’ll say it again because It’s just really sad. When
people behave like that something is wrong with their heart and
desires, their inability to focus on what they really want. Last
thing I wanna say, I’m really happy to see is that our friends in
Hour of Penance are becoming big, even though they were big before us
and it’s wonderful to see them grow up.
Benek- How did you grow as an artist from the early
days?
Tommaso- Now maybe I’m starting to make the first
steps, to one day be considered an artist. Because, being an artist
is a big thing. On one hand, it’s something you have inside from
the first day so I’m a somewhat an artist. It’s the way to lead
your existence. Being an artist is based on your roots, your
existence, your sufferings and your past. It’s very good to know
the beginning of the experience with Fleshgod was, I was beginning
another kind of path, the path to become a man. It’s made of many,
many different elements so the responsibility of following your heart
and this is what I am so fuck all the others. Not in a bad way, but I
just mean saying what you feel and doing what you feel, because you
believe in yourself. Sometimes it’s very painful to reach this
knowledge of myself, and now it’s happening, this path has been
helped a lot by the experience with Fleshgod. I met people who have a
common passion, some of the guys in the band who made steps before
me, and we taught each other many things like a family. Now, I can
say I’m setting the artist inside myself free. That’s what makes
you feel you can jump on the stage, and after many years you feel you
can just let yourself go, and it all works if you do that.
Benek- What inspires you to write? Lyrics in particular,
but also music, what are some things you take in before writing a
song?
Tommaso- You know, for which regards the music, I really am one of
those guys who listens to many different kinds of music and I have to
say it’s cool, because it’s a very strange way to transform
things you just take things in and let them out in a different form.
For some strange reason, when I’m onstage I feel sometimes I’m
more inspired by some Rock and Grunge singers like Kurt Cobain or
even of the present. I really love Grunge rock music; I’m a really
big fan of Pearl Jam and Soundgarden. I bring a big piece of that
kind of music when I go onstage. Even if I am doing a different kind
of things, that’s what I bring onstage and it makes my onstage
personality. Obviously I go crazy every time I get to see Cannibal
Corpse or Behemoth play live. What maybe is my trademark though is
that I really love Rock music in many different forms, and I bring
this with me even in the lyrics. I take inspiration and write the
lyrics together with Paolo. We’re complementary to each other and
take inspiration mainly with ourselves. Lyrics are something that
even if you speaking of something else you put yourself into that,
the experiences in my life are the main inspiration for the lyrics.
But one of my greatest inspirations , even if you can’t get it
directly are Eddie Vedder and Chris Cornell.
Benek- Does it
present challenges in a live setting, to bring the whole grandiose
and bigger-than-life sound of the albums to a stage?
Tommaso- Of course, of course it does as there are two points
about this. The mix, the sound in the stage, when we speak to the
sound guys we have to arrange things that are not very usual. Since a
couple of years, we’re always traveling with our sixth element that
is Francesco Zaki (how many Francesco’s?!), he’s an important
part of the whole circus. He has the duty of bringing our sound out
every night, and that’s very hard, mixing our distorted guitars
with the bass, the drums, and the orchestra plus the piano. But also
it’s something that makes a sort of imposition on the way you have
to play on the shows. Obviously we always have the click, so we play
the same speed as on the album all the time and we are referring to
something that is there. So you can’t lose even one BPM so it’d
be a problem, then the orchestra won’t be on time with the music so
you have to practice and be precise. That’s first of all a
challenge for Francesco Paoli, who needs to follow the same beat. He
can’t say “I’ll go slower because I’m tired” he has to play
the album every night. It’s something we got used to , it’s our
way to bring the show live. At this point we couldn’t do without
it, now we feel comfortable with that but for many technical reasons
it gets very complicated when you have very quick changeovers,
especially in festivals. We had to learn how to be very fast, and
just go out and bam, play .
Benek- Also, your stage clothes is very different from most bands,
I was going to say Corpsepaint but obviously such is not the case.
What does the black paint signify? I’m guessing the suit and tie
reflects a relation to classical music?
Tommaso- Well, the
idea is something we are doing some modifications to, in the look to
make it even more realistic. The idea is that we’ve got these
suits, that we’re kind of musicians and composers from the 17th
century, so in some ways we’re supposed to be kind of dead. When
you see the video of the Violation, you get it from the story even if
it’s not so explicit. It’s kind of metaphor, once I’ve seen an
interview with Abbath from Immortal, he said the face paint is a way
to represent their inner demons on the inside. The blood on the suits
and the black on the face is to represent in a visual way, this
mixture of our music. The classic bombastic element and the idea of
violence, of Death Metal, of Speed of something that is melodic but
rotten. I think it’s the best way to express it, trying to bring a
very violent version of classical music and musicians.
Benek- are there plans for future videos?
Tommaso- Yeah of
course, we’re working on the times to do it because now we have a
long recording session, with a tour in the middle. Now we’re mainly
practicing on the playing of new songs live, so we’re trying to
take our time to concentrate on the most urgent cause. But of course,
we already have the idea and more or less how we wanna do it. I think
it won’t be a long time, we will try to put it out as soon as we
can. We would’ve liked to do it right now, and put it out before
the tour, but I don’t know if that’s going to be possible. We’re
trying to see how, and when we can do it. But we have an idea for the
new video and I’m sure during the promotion of the album we’re
going to shoot at least a few videos. You will imagine when you
listen to the album which song it’ll be , but for now I want to
keep it as a surprise.
Benek- Top 5 influences, musically! Go
go go…
Tommaso- You want just 5? Or the order? Because if
I’ll have to decide the order I’ll have to be here till midnight…
1. The whole Italian pop music scene and Rock scene of the 70’s,
80’s and 90’s, I really think that we had very important
composers and a rich music scene growing up. Like Luccio Dala,
Francesco Di Gregori, Rennato Zzero,and Fabrizio di Andrea.
2.
The Beatles
3. Cannibal Corpse
4. Beethoven and Mozart , and
guys like Rachmaninoff
5. John Williams
Benek- When can we expect to hear some of the material from
Labyrinth?
Tommaso- we’re still working on it so I actually
don’t know precisely. At this moment we’re into a storm, as
everything is happening now. As soon as the master of the album is
ready, there are so many things going on and each one of us take care
of some of the aspects. We’re exchanging thousands of emails with
managers, transportations and everything, but I know that we’re
going to put out a single before the tour so people will have the
time to listen to it. I hope there’ll be a way to put a streaming
of the album, but I can’t say for sure. Perhaps a single or a lyric
video during July.
Benek- Any last words to the Israeli
crowd?
Tommaso - What can I say? I’d like to say this one,
I don’t wanna seem pretentious but I really think it in general: I
always say, support the good music. Doesn’t matter which kind or
which genre, just support the good music. You can really recognize
that there’s good and bad music, so support it so it can grow. And
obviously, straight from the heart, thank you! For believing in us,
and we believe in people who are supporting this band, and there’s
one promise I want to make- we will always give the maximum we have,
and the day we will not be able to do this, we will quit. So just
remember until we cease existing, we will just give everything as
it’s just in our character. So don’t worry, Fleshgod is always at
work to do something better.
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