Formed in 1993 in Espoo, nr. Helsinki, Finland, Children of Bodom has built a rock solid reputation as one of the greatest melodic death metal bands in the world. The band is one of the best selling artists of all time in Finland – with more than 250,000 records sold in that country alone.
The group currently consists of Alexi Laiho (vocals, lead guitar), Roope Latvala (rhythm guitar), Janne Wirman (keyboards), Henkka Seppälä (bass), and Jaska Raatikainen (drums). Laiho has been classified as one of the 100 Greatest Heavy Metal Guitarists of all time by ‘Guitar World’.
‘Halo of Blood’ is the eighth studio album by the band. It was released in June 2013 on Nuclear Blast Records. The album was produced by Swedish producer Peter Tägtgren (Hypocrisy) who also shared production credits for Blooddrunk (2008).
“Waste of Skin” begins with vast flexing of pre stressed tendons, before the hot guitars establish a sleeting fire of suppression. The sheer speed of this piece is simply amazing. A colossal chorus is satisfyingly bludgeoned out. And, as always, the guitars seer and sizzle – leaving the listener in a state of xenobiotic frazzle.
As exhausting and exhilarating as the guitars are on “Waste of Skin”, things get even more fearless in the title track “Halo of Blood”. The pulse-jet riffs and the propagating rhythms soon merge to become a cauldron of superheated inter-metallic broths. It’s a masterpiece of integrity and power.
“Scream for Silence” is a thing of beauty. With radial gradients and hanging overtones – and these threaten the delicate lattice-work of the sounds beneath. The vocal is musty and ripe – yet contrasts with the refined elegance of the striding beat. The second riff accentuates the sparkling percussion – then a resplendent twin-pronged guitar piece takes over. This will be a popular track – with a real lightness and approachability – that will attract new listeners.
“Transference” has a 21st Century feel to it. Shiny space-age smoothness. And it accelerates rapidly towards “Bodom Blue Moon (The Second Coming).” The structural dynamics of this song are really ambitious and thoroughly monumental. The ground acceleration of the guitar is so uncompromising that it will make you catch your breath. And when the riff starts – it’s like a hammerstone sparking against the wheel.
Next we have “Dead Man’s Hand on You” – the metal/classical/Gothic allotropes found within this substantially handsome piece reminded us of the pernickety trimmings and the velvety Victorian lustre of English doom metal merchants ‘My Dying Bride’. It places an overflowing sense of grief and pity right at the very epicentre of the aesthetic experience. It positions the listener – alone- in a valley of tears. You will share in the horror – and the delight – of lonely mortality. The clean (although grizzled) voice, along with the simply strummed guitars, start the gently waving motion of the song. It carefully builds into a stunning flower of passion. It is a comforting piece, but without being moribund: (“I’d paint your roses black and show you heaven / just to see your skin for one more second”) – and you will sense a grievous loss within each strain of this bitter lament.
“Damaged Beyond Repair” has drag-lines of guitar that stammer out and onwards. The song is as black as coal powder, and yet has a myriad shining moments.
Then the guilty track “All Twisted” starts out – like a conventional heavy metal number. A power blade riff thumps along, with the pugnacious voice of Alexi Laiho jogging hard to keep up. The super-quick percussion has enough seismic loading to shake the Troll platform from its shell. And then a screaming guitar rockets out – and is joined by another snake of fire – to fly free. This superstructure almost dwarfs the regurgitating riffs that are found beneath. The song is about recognizing right from wrong, and reflecting on how we get here … and wondering where to go next. The keyboards of Janne Wirman add a theatrical dimension to this highly agreeable piece.
The album concludes with “One Bottle and a Knee Deep” which is a gyratory-crusher of a song. The loose-hipped guitar-work will make you smile. And the typhoon of vocals will bring back memories of the unsolved murders at Lake Bodom. In 1960 three teenagers were brutally murdered by the lake. The only survivor was arrested for the crime in 2004 – but was acquitted of all charges by a local court – and had to be awarded a settlement for the long term suffering he had endured. “Spirits of Lake Bodom are furious again…”
‘Halo of Blood’ is not innovative or experimental, in fact it could almost be the C.O.B. that we listened to ten years ago. And some critics might be surprised by this album’s accessibility and obvious entertainment value. The massive riffs, the fury and the majesty – they are all there.
But the efficiency and economic use of imagery, sounds, textures and hooks will serve as a reminder that this album has been crafted by a group of master-musicians who have built up an unparalleled experience – and a maturity – that is unrivalled within the genre.
The album is consistent, rounded and totally essential.
‘Halo Of Blood’ is out now via Nuclear Blast Records.
