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Feeding from the wounds of time. - 80%

Diamhea, March 29th, 2014

While Ex Deo's debut suffered from a number of imbalances, you have to give Iacono at least some credit for assembling a decent legion behind him for Caligvla. While the majority of the full-time members are naturally Kataklysm alumni, the real trump card comes in the form of Lefrancois-Leduc on the keyboards. As such, Caligvla is at it's best when it plays up it's cinematic, symphonic scope and revels in it's pomposity - regardless of how diffused the group's death metal origins become throughout the entire ordeal.

While the entire concept of Ex Deo as a whole has the proclivity to come off as extremely cliché and/or trite, it doesn't necessarily damage the lasting power of the music that much. Iacono clearly has a committed interest in his ancestry, some of which he communally shares with yours truly. The writing was on the wall as early as Kataklysm's Shadows & Dust, being an obvious homage to Gladiator, but the truth is that the balancing act pulled off on Caligvla far outstrips any of the group's past attempts at the marriage of this subject matter with heavier elements.

That being said, few can deny the potency of tracks like the mid-paced opener "I, Caligvla," which relentlessly shakes the landscape akin to an approaching infantry. The song often slows down to reassess it's surroundings, with Iacono's sepulchral barking delivering the narrative. This on it's own is by no means a compositional feat, but Lefrancois-Leduc's triumphant keyboard textures add an entirely new dimension to the song and truly lift it to a new level. While most of the remaining tracks are more straightforward save for the orchestral outro "Evocatio: the Temple of Castor & Pollux," the massive breadth of Caligvla never truly vacates the listener's peripheral vision. "Pollice Verso (Damnatio Ad Bestia)" even features some soaring twin-leads that erupt from the dense symphonics and cumulatively add to the punch of the material.

A necessary risk associated with material this bombastic is the chance of devolving into background music. As stated above, the death metal elements of Caligvla are seriously downplayed, and as a result a lot of the incisive vexation that normally keeps you on your toes regarding the genre is damaged. It usually isn't much of an issue thanks to Lefrancois-Leduc, but some tracks like "Along the Appian Way" fail to be animated enough to make much impact. While Caligvla is clearly an album best tackled in one sitting, these pigeonholes remain evident to any listener. While some of the slower songs come dangerously close to Amon Amarth territory like "Teutoburg (Ambush of Varus)," Ex Deo does a commendable job at carving their own majestic path in a style so often rehashed to the point of inanity.

Even when Dagenais and Barbe are banging out a bevy of churning, shield-splintering riffs, the emphasis is almost universally on the vocals. Iacono really digs deep within to pull out the necessary level of torture in his bellowing shouts. I suppose you can call me a sucker for vocals like this, be it Limbonic Art's Phantasmagoria or Made of Hate's Pathogen, but it adds great dimension to what would otherwise be faceless grunts. Despite Duhamel's kit being buried more than I would prefer in the mix (still a great performance), the rest of Caligvla takes advantage of it's grandeur and sweeps over the listener in controlled waves. Few bands can pull off an epic scope like this without devolving into self-parody, so kudos for Ex Deo for embodying a landmark of prudence in that regard. Sub-genres should know when they're conquered.

A Roman Tribute - 75%

Guanacosine, May 30th, 2013

When it comes to symphonic or “epic” metal bands and their style of music, I feel it is possible to make something that is truly listenable. Oftentimes, however, I find that bands get too absorbed in the symphonic or epic aspect and leave somewhat shoddy songwriting left to the actual metal part of the sound, hoping that the former will make up for the latter. To that end, one will run into bands that use bland, simple licks that serve mainly as a backing track to the synthesized strings, leaving the metal listener wanting in terms of the overall sound. Also, one will find bands that get way too into the subject matter and lose all subtlety, creating nothing more than a long, musical statement that reads: “We really love [insert topic here]!” and is frustrating because, while I may share an interest in the subject, I also want to listen to some darn good music.

With “Caligvla,” Ex Deo’s second album, these pitfalls are avoided for the most part. At first, I didn’t think this was so, especially with how bombastic and in-your-face the opener “I, Caligvla” is. Name-dropping Roman figures and other similarly themed lyrics, I thought the band would get completely absorbed in the topic in a bad way, leaving the music in the dust. But the songs immediately following it proved this was not the case. Rather, Ex Deo is able to blend well their symphonic metal and its corresponding subject matter, creating an inviting and thrilling tour through the Roman ranks on the battlefield and history books.

They were able to do this by accomplishing a few key things. First, as mentioned before, they avoided making the symphonic aspect of the music carry all of the weight in the songwriting. Songs like “Cliff of Tiberius,” “Per Oculis Aquila,” and “Teutoburg” balance some good songwriting between hard-hitting, majestic metal guitars and epic-sounding, theatrical strings. Even the guitar solos peppered throughout the album work to serve the whole, not standing out of place or seeming forced.

Second, they were able to make use of the topic without getting too involved in it. As I mentioned, some bands tend to get too enamored by the idea being used and make some careless mistakes. Thankfully, Ex Deo avoids this, successfully crafting songs that are at once immersive in the subject matter and tenable as metal music in their own right. The aforementioned “Teutoburg” serves as the best example of what Ex Deo are capable of making. The music clashes and roars like the very battle itself, gasping for breath at one point where vocalist Maurizio Iacono calls out to the legions. The sneaking in of Emperor Augustus’ line “Varus, where are my legions” was a nice nod to Roman history buffs as well.

Yet there are a few things for which the music can be faulted. The noticeable lack of a bass guitar, which has become commonplace in so many metal bands as to be institutionalized, leaves the songwriting wanting for depth. Iacono’s vocals also aren’t the best, with his yelling a real grate on one’s ears. His yells in the opener “I, Caligvla” were not very convincing, but when he sticks to a more pure, death metal style of vocals, the performance is much better. Unfortunately, there are a number of points where he yells instead of singing to add effect; I find it falls flat more often than not.

All in all, “Caligvla” is a solid offering from Ex Deo, both successful in staying on target with songwriting by balancing out between the symphonic and death metal aspects. While the guitars are a little lacking as well as a bass guitar element, the effect as a whole is undeniably immersive and worthy of its imperial namesake.

Roman Supremacy Cast in Metal - 100%

SereFlower, September 25th, 2012

Three years after their fiery debut with “Romulus” and just when modern “barbarians” and “soldiers of Rome” alike were about to dub it a one-off experiment with Roman mythology and history, Canadian metallers Ex Deo make a grandiose return to the spotlight with “Caligvla”, a new full length that follows in the footsteps of its forerunner, but only thematically, for stylistically it stretches the boundaries of melodic death metal and sets the bar high for what cinematic metal is supposed to deliver from now on. One complete spin of this album feels very much like watching a movie of epic deployment of forces under Hollywood production; in the end, it’s either a call to arms or to history books: “Legions, engage!”

Released on August 31st 2012 to coincide with and commemorate the 2000th birthday of Emperor Caligula - the epitome of limitless power and madness, the new opus reflects both the sheer brutality and the greatness of Ancient Rome. Ex Deo take the ruthlessness from the battlefield, from the gladiators’ arena, political assassinations and exemplary punishments, and translate it into mind-blowing riffs and unyielding death metal percussion under the firm guttural command of frontman Maurizio Iacono. Symphonic and choral ornaments, elegantly distributed in almost each song so as to fit the atmosphere without becoming excessive, glorify the spirit of the famous legions - protectors of the Roman dominance and expansion, while cinematic features such as battle cries and chaos, movie dialogues, spoken or declaimed passages ensure an authentic feel of the historical episodes evoked.

There is no weak or less interesting track on “Caligvla”, as each allows one particular instrument or a certain vocal feature to gather the most attention, take for example the crushing (and catchy!) guitar riffs of the opener, “I, Caligvla”, the heroic chant vocals in “Per Oculos Aquila”, the thick bass line of “Pollice Verso (Damnatio Ad Bestia)”, the emotional guitar solo of “Along The Appian Way”, the instances of melodic tremolo picking riffs in “Burned to Serve as Nocturnal Light” and “Once Were Romans”, and the list could go on subjectively... Nevertheless, “Pollice Verso (Damnatio Ad Bestia)” has all ingredients to be perceived as the perfect symbiosis of death metal harshness and symphonic grandeur, with an evanescent, much too subtle violin intervention and of course, with thunder-like backup in the growls department from Seth Siro Anton (Septicflesh) himself. As a matter of fact, “Caligvla” features further guest artists summoned to pay homage to their Latin roots: guitarist Francesco Artusato of All Shall Perish, singer Mariangela Demurtas of Tristania and vocalist Stefano Fiori of Graveworm.

The album’s artwork was designed by Seth Siro Anton in his unmistakable and highly intriguing style and invites to interpretation beyond the obvious protective presence of Jupiter (“Jove”) on the rider’s shield and the absence of both gladius and the hand to carry it.

With the release of “Caligvla”, Ex Deo have clearly outgrown the status of side project, marching forward as a mature band with a focused message: Ancient Rome’s power and influence - “Roma caput mundi”. Before asking yourselves whether they will succeed in shifting the focus from the Viking saga or what the next Ex Deo album will revolve around, just enjoy their current offering, which seems to be quite enduring.

- originally posted in Beyond the Dark Horizon (

Today is a Good Day to Die - 81%

Left Hand Ov Dog, September 23rd, 2012

Symphonic death metal is an interesting prospect. Few projects have attempted such a marriage, and even the more popular examples, like the somewhat tedious new work from Fleshgod Apocalypse (tech death channeling Dimmu Borgir, sans depth), have not been anything to write home about. Perhaps everyone just fears being grouped in with horrifying atrocities against music like Winds of Plague, surely an understandable concern. However, the concept is one of stunning potential, as evidenced by unique, inspired entities such as Septic Flesh. Italians Ex Deo, composed of the entirety of Kataklysm, plus bassist Dano Apekian (from Ashes of Eden), have unleashed their second effort, Caligvla, and it’s one of the strongest forays into this largely undiscovered universe I’ve yet heard.

Right out the Coliseum gates, Caligvla is an unrestrained and grandiose beast, utilizing the prevalent orchestration to sweep the foundation of the bands instrumentation up toward the heavens. It’s not used as a gimmick, but rather an essential part of the inherent atmosphere, and the result is a heart-pounding, fist-pumping exercise in pure triumph. The band also never leans on the symphonic presence as a crutch, as they have crafted a number of suitably triumphant riffs and leads to carry the songs forward, and they shift between leading and supporting roles easily. We’re looking at a host of mid-paced war marches, though Ex Deo also integrate a bit of blasting to liven things up. In fact, the overall vibe is similar to that of Kreator’s new opus Phantom Antichrist, tenacious and rather overtly melodic, with a sense of vibrato and scale that imparts epic mental imagery to the listener. It may not be quite as diverse and memorable as that album, but it hits the same chord in the spirit, spurring you on to fight for honor and glory.

I’ve mentioned the riffing, and indeed there is a gaggle of progressions here that suitably impart the burning spirit of ancient Rome, at least as far as a laid-back gringo like me can visualize. It’s difficult to adequately explain, but the flavor of the chords just feels right, just feels so fitting to the thematic content of the lyrics, as this concept album is a romp through battle-blazing history, focused on the exploits of Caligula. This record feels like a journey, like the score to some high-grossing historical bloodbath like Gladiator or 300, but inescapably fucking metal. Like most albums, you’ll glean a lot more form it if you can find some time to focus in on the lyric sheet. It doesn’t hurt that they’re delivered with undeniable passion and force, as the vocals of Maurizio Iacono are stronger than they’ve ever been; primal, panoramic shouts echo across the distance, letting the enemy know that doom is at hand, before splattering their skulls with his percussive, lugubrious snarls.

Production is slick and full-bodied (much better than on Romulus), and you’ll hear no complaints here, beyond my endless &%#$*$%&%ing recitation of wanting to hear the bass guitar. I mean, am I the only one who finds this a constant irritation in metal? Is something wrong with my ears? I just can’t understand how anyone could allow their performance to be so utterly neutralized, or how bands could think this serves their sound. Sometimes I can hear it pulsing away, but the guitars either absolutely bury it, or render it pretty indistinguishable. Lame.

Really though, if you like epic metal, you cannot go wrong here, not in the least. Caligvla is simultaneously dark, uplifting, ferocious, and endlessly theatrical, lending fantastic mental imagery. The riffs are good, the songs are well-written, constructed to build and explode as they progress, and there’s a good amount of variety and surprise in the melodies and delivery (the female vocals in Divide Et Impera send the spirit soaring). Caligvla breaks pretty far away from the established tendencies of death metal, but on a basic level, it remains true to the basic aesthetic precepts of Kataklysm, a sort of lumbering force that could surely batter you into the ground if they so chose. Not all of the hooks are worthy of immortality, and the pace gets just a tiny bit monotonous at some points, but those are pretty minor complaints in the face of such complete solidity.

This record may not quite reach the realms of Jupiter, but it towers high nevertheless, hitting as hard as Vulcan and impaling enough enemies to make Mars blush with pride. Caligvla is fitting tribute to its chosen content, a rather unique, stirring conglomeration of influences, and should appeal to a wide range of metal fiends, so I bid you to give it a chance. Anyone who likes their metal resoundingly epic, or historically seasoned, lyrically and melodically, will undoubtedly find Caligvla a winner. When all the myriad strengths come together, as you’re basking in this dark, epic, compellingly dense atmosphere, and Iacono proclaims ‘Today is a good day to die’, the shiver up your spine makes it hard to disagree.

-Left Hand of Dog