Finnish melodeath superstars Children of Bodom have gone through several identity crises. Starting off as neoclassical melodic death metal, they had a lot of success. Their album Hatebreeder is indisputably a classic of the genre. But over time, they turned their sound into a more groove-oriented version of themselves with shred sections. This sound still had a lot of acclaim, as their fourth album Hate Crew Deathroll was also received very positively, even though some lamented the loss of their older influences. With their next few albums, they kept slightly changing their sound to be more accessible while simultaneously trying to capture their spark from their earlier days, but it never clicked, even though slog the way they had some great songs. After several disappointing albums, and the loss of famed guitarist Roope Latvala, Bodom are faced with their deciding moment. They could either pick themselves back up and make a comeback, or risk forever being written off. Thankfully, their ninth album, I Worship Chaos , is more the former than the latter. What really makes a Bodom album tick? If we’re talking post- Hate Crew, it’s basically solid grooves, chantable choruses, angry one-liners from Laiho and cheesy lead sections. Well, I Worship Chaos has got all of those covered. Each song is full of memorable little licks, be it some aggressively-nod-inducing riffs, earworm melodies or just proclamations screamed by Alexi (who sounds angrier than he has in a while). But what’s really important isn’t just that these elements are thrown in to tick boxes, it’s that they all come together in a way that makes for an enjoyable listening experience. And that’s definitely the case here. Roope Latvala’s departure was definitely concerning as his lead playing was thought to be a big part of the band’s sound, but Alexi seems to be managing just fine without him. Perhaps the solos are a bit less intense, but there isn’t a noticeable drop in songwriting quality overall. In fact, the album feels better written than several of its predecessors. Everything is in lockstep, riffs carry tension and resolution very well between each other, and they don’t feel tired. This is an especially impressive feat if one considers the fact that melodic death metal has been around for quite a while and the template has been “figured out” long ago. Even Bodom have contributed to that process in the past, and nine albums deep into their career, it would be easy for them to feel like there’s not much left to say (in fact many though that was the case even seven albums deep into their career, so in some ways I Worship Chaos is a resurgence of quality). Sure, Alexi doesn’t sound like he feels as rife with angry creativity as he did fifteen years ago, but he sounds a lot more invigorated than he did five years ago. The benchmark for success in melodeath isn’t necessarily innovation anyway, it’s polish. And polish is in abundance on this album. It’s hard to underline in words the specific tightness that makes this album tick. This isn’t something that one can identify on paper. It’s the feeling of genuineness and effort conveyed by the tone of the writing. To the careful listener, that the songs were put together not by haphazard cobbling of ideas that were left on the drawing board after a writing session but were carefully put together to ensure every cog clicks properly with everything else, is obvious, and that is when the heart put into the album is apparent. Overall, I Worship Chaos is a polished, heartfelt album that makes it sound like Children of Bodom are enjoying their own music again; and fans should join in on that as well. The band are better than they have been for several albums, and new life has been breathed into their music. In a way, they’re back from the dead, telling us that we were wrong to write them off. ? Children of Bodom- I Worship Chaos gets… 4/5 -NT
Posts Tagged ‘Sound’
Machine Head – Bloodstone & Diamonds
It’s been a turbulent three years in the metal world since Machine Head released Unto the Locust to much critical praise. We’ve seen the continued rise of djent and it’s bastardizations, deathcore’s leanings into more progressive territories, progressive metal’s leanings into softer and more introspective territories, black metal through the eyes of shoegazers, and the return of a few old school death metal bands. The late nineties saw the band conform to the sound of the times, adopting the nu-metal style introduced by bands like Rage Against the Machine , Korn , and Limp Bizkit in years prior. Luckily, the current musical climate has had no impact on Machine Head, who have chosen to pound the flag they’ve been flying since their triumphant return to form with 2004’s Through the Ashes of Empires deeper into the ground, resulting in Bloodstone & Diamonds , their latest gem and first release for Nuclear Blast . Whereas Machine Head merely flirted with orchestral arrangements in the past, opening track ‘Now We Die’ starts off with a full on string section, setting the tone for the prodigious journey that lay ahead. The return of producer Colin Richardson is immediately apparent once things kick in: buzzsaw quad-layered guitars, drums punchier than Mike Tyson, and distorted bass sitting perfectly in the mix to complement the guitars. The sonics of Unto the Locust were perfectly appropriate for most metal albums of its caliber, but Richardson’s return makes it apparent that there is an intangible magic when the two work together. This is also the first album to feature new bassist Jared MacEachern after the well publicized fallout with original bassist Adam Duce , leaving Flynn as the sole original member. The band has been fraught with lineup changes over the years, but the heart of Machine Head has always been with Flynn. By the time second track, ‘Killers and Kings,’ bulldozes it’s way through the speakers, any apprehension is completely removed. Drummer Dave McClain ’s tasteful and simple ride bell play during the choruses carries the song masterfully, and his performance throughout the album is a testament to powerful modern metal drumming. Bloodstone & Diamonds does not wear any masks, exuding an honesty lost on much of today’s metal. In Machine Head’s case, perhaps it is a continued rebellion against their “experimental” period from 1999’s The Burning Red to 2001’s Supercharger . Despite this, the band have retained the best parts of said period while keeping the foundation they built in the beginning with Burn My Eyes , and also venturing into new territory. ‘Eyes of the Dead’ is the most representative track of their career by far, and perhaps the strongest track on the album. The intro reeks of early Megadeth with the ascending tapping lick over the pulsing drums, calling to mind ‘The Conjuring’ from the classic Peace Sells…But Who’s Buying? . The verses thrash about in the melodeath way the band adopted on Through the Ashes of Empires , with a deadly infectious chorus with Flynn chanting “Murder! Murder!” and a follow-up hook worthy of the best melodic moments from The Burning Red . Add a whammy bar breakdown groove in the mid-section worthy of 1997’s The More Things Change and you have a massive recipe for success, all while not sounding the least bit derivative. From a performance aspect, this album marks some of Robb Flynn ’s most impassioned and versatile singing in years. The airy falsetto of the verses on ‘Ghosts Will Haunt My Bones’ are simultaneously sensuous and foreboding, counteracting perfectly with the bendy groove that follows. Without a doubt the biggest surprise found here is the brooding and eerie ‘Sail Into The Black’. Parts of this song reek of Ulver ’s dark ambient masterpiece Shadows Of The Sun , which is absolutely not a bad thing. Whether this is mere coincidence remains to be seen, but the drone of the baritone choir, thick and enveloping vocal harmonies, and subtle orchestral elements call the album to mind. It’s not until around the halfway mark when the trademark chainsaw guitars, distorted bass, and pounding drums kick in do we have any inkling that we’re still listening to Machine Head. While past tracks like ‘Violate’ and ‘Down to None’ extracted the sludgiest roots of the band, they have dug even deeper into the muck with the swampy ‘Beneath the Silt’. The track opens like an audio engineer’s dream, with the drums pounding out a gigantic fill that highlights the perfectly roomy mix. This is followed by possibly the lowest tuning the band have used to date, with a simple, bluesy, and filthy riff flinging gunk all over the precious and pretty melodic moments delivered on the previous six tracks. The song is not lost on melody however, with Flynn’s hypnotic falsetto covering the chuggy verse like an opiate laced wine basted over a stuffed pig. ‘Game Over’ smacks of bitterness and regret lyrically, quite obviously being an elegy to the friendship between Flynn and Duce. As Flynn cries “Another time, when music’s all we had, bonded by anger and addictions, so glad, always together, but no words are spoken, this is the sound of a friendship broken”, it’s hard to imagine it being anything but. Flynn also took to the mic in the past to deal with former guitarist Logan Mader ’s departure with the Sabbath infused ‘Devil With the King’s Card’ from The Burning Red , so this comes as no surprise. The only downside to this album is the sprinkled on patriotism of ‘In Comes the Flood’. The majority of the music is superb, with the use of orchestra in the beginning and the cascading classical melodies on the tail of the main riff. The problem is the uninspired populist ranting over the top of everything, especially the tired sounding “Wake up, America!” over a riff that drags harder than Ru Paul. Leaving this track off the album would have eschewed a perfect score. Despite this setback, Machine Head have delivered yet another classic addition to their catalog to rival and revel in the most triumphant moments of their career. ? Machine Head’s Bloodstone & Diamonds gets… 4.5/5 -DW
Dave Grohl Performs With Stevie Nicks and Sound City Players on ‘Late Show With David Letterman’
CBS Dave Grohl is making the talk show rounds this week, hitting up ‘The Colbert Report’ and ‘The Late Show With David Letterman’ to discuss and promote his ‘Sound City’ documentary. After an appearance on ‘Colbert’ earlier this week, last night (Feb. 14) was Letterman’s turn. During his interview with Letterman, Grohl recalled his first experience with the Sound City studio in Los Angeles, recording Nirvana ‘s ‘Nevermind’ album there in 1991. He explained, “We booked into that studio cause it was cheap. It was $600 a day and they were sort of kind of past their prime and their heyday. In ’73, they were state of the art, brown shag carpet on the walls was cool, but by 1991 it was not. So we walked in and it was a dump. It looked like a burned out Chi-Chi’s.” However, Grohl said the sound of the studio was undeniable and they got the “big” feel they were hoping for when recording the classic ‘Smells Like Teen Spirit.’ He adds, “The 16 days we were there changed my life forever. ” In addition, Nirvana drummer-turned- Foo Fighters frontman added a performance to his ‘Letterman’ appearance, bringing out his ‘Sound City Players’ with Fleetwood Mac ‘s Stevie Nicks on vocals for ‘You Can’t Fix This’ from the film’s soundtrack. Nicks has a history with the Sound City studios as well, first meeting Mick Fleetwood there prior to she and Lindsey Buckingham joining the band. The group also recorded some of their finest music at the studio. Watch the Dave Grohl’s ‘Late Show’ Interview Watch the Sound City Players Featuring Stevie Nicks Perform ‘You Can’t Fix This’ [button href=”http://loudwire.com/dave-grohl-sound-city-players-nyc-exclusive-photo-gallery/” title=”Next: Check Out Our Photo Gallery from the Sound City Players NYC Show” align=”center”]
Dave Grohl Talks ‘Sound City’ Documentary and More on ‘The Colbert Report’
Comedy Central Dave Grohl has been all over TV recently. Supporting his new documentary, ‘Sound City,’ which chronicles the legendary albums that have been the recorded at Sound City Studios, Grohl graced ‘The Colbert Report’ stage on Feb. 13 to promote the film. Prolific musician and rock’s most lovable overachiever Dave Grohl was in New York City last night to perform with the Sound City Players, a group of musicians who have recorded at Sound City Studios, including Grohl’s Foo Fighters bandmates, Rage Against the Machine drummer Brad Wilk , Nirvana bassist Krist Novoselic , Fleetwood Mac singer Stevie Nicks, rock legend John Fogerty + many more. Before the NYC performance, however, Grohl stopped by ‘The Colbert Report’ for an hilarious interview with host Stephen Colbert. Having recently finished guest-hosting the E! talk show ‘Chelsea Lately’ for a week, Dave Grohl answered Colbert-esque questions such as, “You sold 30 million copies of Nirvana’s ‘Nevermind’ alone, why not phone it in and get fat?” and “Do you think about the [‘Nevermind’] sessions now and go, ‘Why didn’t we turn up the drums?’” After naming off a litany of artists who recorded on Sound City’s board such as Rage Against the Machine, Barry White and the now-imprisoned Charles Manson, Grohl shot the funny right back at Colbert. “The first thing we had to do when we got it [the Sound City board] was open it up and scrub all the cocaine and fried chicken out of it,” Grohl joked. “And that was just Barry White!” Check out Dave Grohl’s full interview with Steven Colbert via the video player below. Dave Grohl Talks ‘Sound City’ on ‘The Colbert Report’ [button href=”http://loudwire.com/dave-grohl-explains-history-of-rock-n-roll-on-chelsea-lately/” title=”Dave Grohl Explains History of Rock ‘n’ Roll on ‘Chelsea Lately'” align=”center”]