Only children of boredom follow the reaper...
Since their conception Children Of Bodom, with their uniquely “accessible amalgamation of power, thrash and melodic death metal”[2] influences, have been a breeding ground for split opinions amongst even similarly minded metalheads. However following the generally agreed upon success of their first four albums, there has been a generally disagreed upon wash of titles released from the Finnish 5-piece in recent years, and after the notoriously genre-evading “Are You Dead Yet?” of 2005, through the still smouldering flame-wars of “Blooddrunk” “an album almost universally panned by critics across the spectrum” [2] in 2008, right up until 2009’s extreme metal cover-album (that’s right…) “Skeletons In The Closet”, it’s easy to see why the rumours were beginning to spread that Bodom was dead.
Two excruciating years and several thousand Youtube arguments later there was hope on the horizon for fans as the latest title to ride this wave of contention was announced; “Relentless, Reckless Forever” (complete with Bodom™ inane metal title) was anticipated to be “the best Bodom album ever”[5] claiming to fuse elements from the band’s “much-heralded back catalogue”[2] of ancient history, as well as influences taken from later more progressive releases. Since then the album has earned such back-handed praise as “drenched in the style and aura of new Children Of Bodom”[2] whilst also being a “hint at a sound long since abandoned”[2] so it would seem that COB weren’t far off the mark on that account. Quite frankly we were all intrigued, and in March of 2011 “Relentless, Reckless Forever” 'Pretentious, Feckless Endeavour' was released alongside “compulsory -radio friendly, catch-all manifesto”[1] single "Was it worth it?” including a shiny music video starring a skateboarder you might not have heard of, and that would probably be the best place to start.
Time for a BREAKDOWN.
A reverb-drenched harmonised lead shows you in, on the wings of synths and a diminished rhythm section. For CoB it’s all very understated and it does well to promise so much more than it’s actually delivering, which is great, because just as you’re beginning to wonder why the hell that rhythm section is being so reserved, boom – the driving main riff comes crashing through, loud and brash; it’s perfectly raunchy when compared with the abstinent introduction. That rhythm section isn’t gonna forgive you for forgetting about it either, because it’s back and hell, those relentless cymbals are earning the stupid title of this album all on their own.
Bringing the energy back down for the verses, disjointed components of the main riff merely stab here and there, leaving only Alexi’s new voice to occupy the gritty landscape of the bass and kick. It’s harsh and it’s dirty, but only in the best ways, and it leaves you grateful for the scraps of harmony donated by the synth during it’s return for the pre-chorus. Following this you recognise the exact same music from the introduction, except everything is different. Bigger, better, those synths are truly soaring now, it’s pure energy right out of the 80’s, and for those who indulge in such guilty pleasures; this anthem of a chorus can’t fail to impress, right through until Laiho’s final unintelligible scream, after which we’re still left with 8 bars of instrumental glory to mosh or masturbate to, or both, however you like to celebrate, you get the point.
That’s just the truth too, because for every critic that thinks “the album’s train-wreck of a single ‘Was It Worth It?’”[2] isn’t worth it, there’s another review, even a negative one that would begrudgingly concede “the track is anonymous save its chorus”[1] – say what you will about the verse’s “similar-sounding… useless riffs”[2] - that chorus is untouchable. Right from the off then, we know lead vocalist, guitarist and composer; Laiho in his time away, has not forgotten how to write a catchy riff, and seriously you’d have to be impotent not to feel the groove of these chops.
As for arguably my first inflammatory comment of the day - I mentioned Alexi’s new voice, and in this critic’s opinion; this is his best voice ever. An opinion it would seem that is not shared by many fellow fans or critics, judging by the way Alexi’s “degrading vocals”[2] have been described but what they hey, they’re new and yes they are production heavy, but tastefully distorted and just discernible enough for you to grunt along with is nothing to be ashamed about, and it’s more than I can say for the swampy, phlegm-laden death-rattles that riddled the all-hallowed early albums of “Follow The Reaper” and co. Dry and less primal, Alexi’s vocals might be the first thing to divide old-school Bodom conservatives from the new-blood, but if you’re asking me; they are sounding brutally epic. It feels like the sound Alexi has being looking for his whole career. Harsh enough for Laiho to avoid being called a girl by the Helsinki scene, but clear enough to project and perhaps even be understood by some English-speaking listeners somewhere maybe.
Moving swiftly on however we walk face-first into the guitar solo. Ah. Now I know what you’re expecting from the “wild child” at this point, you want me to say that he shreds up one of the most blisteringly world-ending fret-wanks you might ever have had the privilege of witnessing. Well I’m not going to say that - instead after the second chorus the energy gets sapped right back out again. We all chill out a bit, stop banging heads and listen to something you might say is a weird fractal trade-off between Alexi waxing bluesy and Wirman on synth, or maybe you’d say it is, as it has alternately been described “an awful guitar solo”[2]. I admit, it’s not what I expected. It’s definitely not what I wanted either, but what it is, is stylish, is playful, and most importantly – it is new.
In practical terms, there’s no way the band could have had a grandiose instrumental section without diluting the energy of that almighty chorus on either side, so structurally this was a wise decision from the artists, but I think there’s more to it than just that; this solo can tell you a lot about the rest of the album, as well as the choice of this track as publicity fodder. Laiho is more controlled, more pre-meditated in his composition with this latest release, he’s not particularly interested in giving you everything you want right at the moment you want it, but instead strives to craft something interesting and ultimately more rewarding than the instant gratification you might find in previous works. “A sweet and sour combination”[2] this is an album to grow on you, built to last, and me thinks a more mature musical direction has been adopted here.
Grunting Noises - 50%
Okay so CoB have never been known for artful lyrics, but relative to their usual standards (and literally nothing else), they’re pretty good on this album. Mostly devoid of arbitrary occult references; Alexi instead resolves to spout some honest - if a little crass - reflections of genuine personal experiences. “Not My Funeral” is a very intimate response to condescending voices in the frontman’s personal life regarding I suspect his alcoholism, and “Was It Worth It?” is a cute "party song"[5] about not learning your lesson from hang-overs… Hmmm. In the well-established tradition of CoB titles lacking all self-awareness - try “Lobodomy” or “Triple Corpse Hammer-Blow” - “Shovel Knockout” could just about be the spiteful voice of anyone who’s ever felt betrayed, rejected or otherwise; pissed-off about anything at all in their miserable little lives.
Like the title of the album, another name which renders one third of itself redundant; “Roundtrip To Hell And Back” is a parable about a bad trip, and whilst not at all a bad song per say, I was however disappointed to find that the lyrics lacked the same raw emotive power I’d come to look forward to from the token slow song of each album. It’s predecessors - “Everytime I Die”, “Angels Don’t Kill”, and “Punch Me I Bleed” - being amongst some really genuinely moving CoB titles. “Roundtrip To Hell” as it ought to be known, is still a highlight of vocal delivery and “Laiho's impassioned screams”[1] might yet fool you into thinking it “means” as much as it’s ancestors did.
So, some coherent and relatable stuff across the boards and with some real emotional content that fans will pick-up on and appreciate, which is often more than we usually get. That said, be warned - the album is hardly deprived of the staple nonsense, “Ugly” (a track otherwise filled with goodies) is admitted by Laiho in Revolver Magazine to be just, and I quote: “screaming stupid stuff”[5] and I think the universally unpopular “Pussyfoot Miss Suicide” just about miss-steps as hard as you can do on such a sensitive subject...[5]
“Northpole Throwdown” and the album’s
namesake sink pitifully into the machismo generica we’ve come to expect from
the band (or maybe the genre?), and finally something else that could also easily
fall into that category, but perhaps may actually be a viciously insightful self-analysis
from Laiho; I honestly still don’t know how to feel about “Cry Of The Nihilist”
so it’s a good job I’m not in a position where I’m expected to formulate an
opinion…
Overall “Laiho's lyrics aren't poetic”[1] but rather “harshly delivered, and bluntly put”[1]
they are as good as, or sometimes even better than, they have ever been.
Sadly something that will likely be appreciated exclusively by long-time
hate-crew members “for whom a belief in
dragons and wizards isn't compulsory”[3].
The Music - 80%
Shaking our head as we storm out on the lyrics, this is what it’s all about with Bodom; the music, and the music is good. Objectively, the production is better (funded) than ever before, “it is obvious that Children of Bodom has some extra financial backing for “Relentless Reckless Forever”[4] and it really provides room for listeners to pick out the nuances in the extended metal line-up of this hyper-technical genre. “Laiho does well to remind us that he does a lot more with his guitar than he is often given credit for. It is important to listen for the less audible notes played”[1] particularly when trying to wrap your head around some of the intricate textures that the band has left for us to explore here. It’s all about extending the longevity of the entertainment value, and the long-term commitment you’re apparently making when you illegally download this album.
The new tonality adopted by the band is admittedly something that might have to be broken-in by a lot of listeners, but nobody is born innately enjoying any old extreme metal either. No, the excitement is in the journey, and this album is the same; if you’re already a fan, once you’ve learned a few words in this new language, my bet is you’ll be hooked. Tracks like “Roundtrip To Hell And Back” are particularly interesting for example, as the melodies deliberately lead you across familiar territory before abruptly swerving off-road at damn-near the end of every phrase. You think you’d learn your lesson with this but it really does take a while.
As for the rest of the material: “The album begins with a bang with the riff-laden ‘Not My Funeral’”[2]. Aggressive, melodic, and a chorus lead you could (if you weren’t such a hard-core metalhead) almost shed a tear to, but the real highlight of this track is the guitar solo, a huge deal for Bodomites and reassuring any fans who may have heard the single’s *ahem* “atypical” specimen first; this instrumental is as technical and focal as you could hope for. That said though, it’s still not more of the same; these are no longer the frenzied, desperate-to-impress, rabbit-like prods of a young impassioned teen, but rather the confident and well-paced thrusts that come with a seasoned, more experienced lover… errm I mean guitarist. The lead is expertly playful and as “technical as ever”[1]. Indeed for many tracks Laiho’s “inexorable refusal to solo at breakneck speed come the end of the song establishes it as an accomplished music composition”[2].
“Shovel Knockout” and “Ugly” are both hugely entertaining examples of the sort of ludicrous riffing that gets beaten around on this album, but even with a sense that “tongue is planted firmly in cheek”[4] critics trend on agreeing that this sort of album-defining material “deserves far more than an ironically raised eyebrow in appreciation”[3]; high-octane guitar and synth leads in abundance, all at the insane pace of that rhythm section, there’s plenty to hold your media-rotted, caffeinated attention-span here, whoever you are.
At tracks 4 and 5: “Pussyfoot Miss Suicide” has some novel melodic virtues on the sweeter side whilst “Children of Bodom subscribe to many of power metal's hallmarks”[3] and the title track “easily sears the hair off our bums”[4] as Laiho does well to show us how far those vocals have come, alongside some truly heinous displays of guitar trickery. It’s not enough however, as these tracks inevitably fall between the cracks left by the cataclysmic impacts of their counterparts. It’s hard to disagree that “songs such as ‘Pussyfoot Miss Suicide’ have no place in such a well-established band's repertoire”[1]. Eventually this dip in the middle of the album is swept away completely by the hectic groove of “Cry Of The Nihilist” which must undoubtedly be what critics are talking about when they mention “dirty riffing, rasped invectives and breakneck thrash”[3]. Sure it starts out ugly as hell but trust me, give it half a chance and it’ll play havoc with your carnal parts.
Obviously then the crowning cherry on top of the Christmas tree must be “Northpole Throwdown” at track 9, the final track provided you don’t have the Super Deluxe Japanese/US-Itunes/Canadian Bonus Edition. Oh but what’s this? The cherry is made of poo. Those children of Bodom have taken a huge befouling dump over my otherwise delicious Christmas tree. Why Alexi, Why…?
Look, I think I’m getting my metaphors a bit crossed here so allow me to speak plainly for a moment; I don’t know who this track is, or where it came from, but it certainly does not belong on this album. A “mish-mash of mediocrity”[2] from start to finish, it sticks out like a really crap song on the end of a really good album, and to quote a fellow respected critic “even when recording only nine songs it is difficult for a band to say no to filler”[1] and while we may disagree on exactly which track that is, it’s fair to say that at 36 minutes the album falls short of a metal epic.
Last Word - 85%
In summary, this 8th album “Relentless, Reckless Forever” sounds a bit different to the other albums, especially the early ones, and whilst I know that something as wildly controversial as that can upset a lot of people, I find myself hypocritically occupying the same space I’m condemning… When regarding my harsh-ass review of the final track, it would seem all of us have our standards of when Bodom have become “too progressive” and that line in the sand is just different for everyone.
That being said, this critic still can’t shake the feeling that it’s better to have risked the opinions of the dreary conservative crowd (myself included), than those who would quite validly be complaining if Children Of Bodom, after nearly 20 years of musical success, hadn’t somehow developed and experimented as musicians. I’m quite grateful that the boys of Bodom have the artistic integrity to, in spite of the commercial success of classic earlier titles, not shell-out formulaic imposters of these tried and tested spectrums, and instead keep exploring fresh territory.
…That’s the speech I would have given, had Cob not since then chickened-out and released “Halo Of Blood” – an album (for the purposes of debunking everything I just said) which may as well have been “Follow The Reaper 2”. I stand steadfast however, on the assertion that this album is probably the most musically interesting collection Bodom have released in their career. A rarely seen unique and worthwhile contribution to the metal scene, and regardless of your opinions on the “middle albums”, an outstanding return to form from a band that - if nothing else - are still not boring after 2 decades.
Sources:
[1] - Samuel Agani -Ultimate Guitar Team
http://www.ultimate-guitar.com/reviews/compact_discs/children_of_bodom/relentless_reckless_forever/
[2] - Kyle Ward - Sputnik Music Staff
http://www.sputnikmusic.com/review/42268/Children-of-Bodom-Relentless-Reckless-Forever/
[3] - Jamie Thompson - The guardian
http://www.theguardian.com/music/2011/mar/10/children-of-bodom-relentless-review
[4] - Bloodofheros - http://www.metalunderground.com/
http://www.metalunderground.com/reviews/details.cfm?releaseid=4400
[5] - Alexi Laiho - Children Of Bodom-@-Revolver Magazine
http://www.blabbermouth.net/news/children-of-bodom-frontman-talks-new-album-with-revolver-tv/
Since their conception Children Of Bodom, with their uniquely “accessible amalgamation of power, thrash and melodic death metal”[2] influences, have been a breeding ground for split opinions amongst even similarly minded metalheads. However following the generally agreed upon success of their first four albums, there has been a generally disagreed upon wash of titles released from the Finnish 5-piece in recent years, and after the notoriously genre-evading “Are You Dead Yet?” of 2005, through the still smouldering flame-wars of “Blooddrunk” “an album almost universally panned by critics across the spectrum” [2] in 2008, right up until 2009’s extreme metal cover-album (that’s right…) “Skeletons In The Closet”, it’s easy to see why the rumours were beginning to spread that Bodom was dead.
Two excruciating years and several thousand Youtube arguments later there was hope on the horizon for fans as the latest title to ride this wave of contention was announced; “Relentless, Reckless Forever” (complete with Bodom™ inane metal title) was anticipated to be “the best Bodom album ever”[5] claiming to fuse elements from the band’s “much-heralded back catalogue”[2] of ancient history, as well as influences taken from later more progressive releases. Since then the album has earned such back-handed praise as “drenched in the style and aura of new Children Of Bodom”[2] whilst also being a “hint at a sound long since abandoned”[2] so it would seem that COB weren’t far off the mark on that account. Quite frankly we were all intrigued, and in March of 2011 “
Time for a BREAKDOWN.
A reverb-drenched harmonised lead shows you in, on the wings of synths and a diminished rhythm section. For CoB it’s all very understated and it does well to promise so much more than it’s actually delivering, which is great, because just as you’re beginning to wonder why the hell that rhythm section is being so reserved, boom – the driving main riff comes crashing through, loud and brash; it’s perfectly raunchy when compared with the abstinent introduction. That rhythm section isn’t gonna forgive you for forgetting about it either, because it’s back and hell, those relentless cymbals are earning the stupid title of this album all on their own.
Bringing the energy back down for the verses, disjointed components of the main riff merely stab here and there, leaving only Alexi’s new voice to occupy the gritty landscape of the bass and kick. It’s harsh and it’s dirty, but only in the best ways, and it leaves you grateful for the scraps of harmony donated by the synth during it’s return for the pre-chorus. Following this you recognise the exact same music from the introduction, except everything is different. Bigger, better, those synths are truly soaring now, it’s pure energy right out of the 80’s, and for those who indulge in such guilty pleasures; this anthem of a chorus can’t fail to impress, right through until Laiho’s final unintelligible scream, after which we’re still left with 8 bars of instrumental glory to mosh or masturbate to, or both, however you like to celebrate, you get the point.
That’s just the truth too, because for every critic that thinks “the album’s train-wreck of a single ‘Was It Worth It?’”[2] isn’t worth it, there’s another review, even a negative one that would begrudgingly concede “the track is anonymous save its chorus”[1] – say what you will about the verse’s “similar-sounding… useless riffs”[2] - that chorus is untouchable. Right from the off then, we know lead vocalist, guitarist and composer; Laiho in his time away, has not forgotten how to write a catchy riff, and seriously you’d have to be impotent not to feel the groove of these chops.
As for arguably my first inflammatory comment of the day - I mentioned Alexi’s new voice, and in this critic’s opinion; this is his best voice ever. An opinion it would seem that is not shared by many fellow fans or critics, judging by the way Alexi’s “degrading vocals”[2] have been described but what they hey, they’re new and yes they are production heavy, but tastefully distorted and just discernible enough for you to grunt along with is nothing to be ashamed about, and it’s more than I can say for the swampy, phlegm-laden death-rattles that riddled the all-hallowed early albums of “Follow The Reaper” and co. Dry and less primal, Alexi’s vocals might be the first thing to divide old-school Bodom conservatives from the new-blood, but if you’re asking me; they are sounding brutally epic. It feels like the sound Alexi has being looking for his whole career. Harsh enough for Laiho to avoid being called a girl by the Helsinki scene, but clear enough to project and perhaps even be understood by some English-speaking listeners somewhere maybe.
Moving swiftly on however we walk face-first into the guitar solo. Ah. Now I know what you’re expecting from the “wild child” at this point, you want me to say that he shreds up one of the most blisteringly world-ending fret-wanks you might ever have had the privilege of witnessing. Well I’m not going to say that - instead after the second chorus the energy gets sapped right back out again. We all chill out a bit, stop banging heads and listen to something you might say is a weird fractal trade-off between Alexi waxing bluesy and Wirman on synth, or maybe you’d say it is, as it has alternately been described “an awful guitar solo”[2]. I admit, it’s not what I expected. It’s definitely not what I wanted either, but what it is, is stylish, is playful, and most importantly – it is new.
In practical terms, there’s no way the band could have had a grandiose instrumental section without diluting the energy of that almighty chorus on either side, so structurally this was a wise decision from the artists, but I think there’s more to it than just that; this solo can tell you a lot about the rest of the album, as well as the choice of this track as publicity fodder. Laiho is more controlled, more pre-meditated in his composition with this latest release, he’s not particularly interested in giving you everything you want right at the moment you want it, but instead strives to craft something interesting and ultimately more rewarding than the instant gratification you might find in previous works. “A sweet and sour combination”[2] this is an album to grow on you, built to last, and me thinks a more mature musical direction has been adopted here.
Grunting Noises - 50%
Okay so CoB have never been known for artful lyrics, but relative to their usual standards (and literally nothing else), they’re pretty good on this album. Mostly devoid of arbitrary occult references; Alexi instead resolves to spout some honest - if a little crass - reflections of genuine personal experiences. “Not My Funeral” is a very intimate response to condescending voices in the frontman’s personal life regarding I suspect his alcoholism, and “Was It Worth It?” is a cute "party song"[5] about not learning your lesson from hang-overs… Hmmm. In the well-established tradition of CoB titles lacking all self-awareness - try “Lobodomy” or “Triple Corpse Hammer-Blow” - “Shovel Knockout” could just about be the spiteful voice of anyone who’s ever felt betrayed, rejected or otherwise; pissed-off about anything at all in their miserable little lives.
 |
| I think I'll let you guess which track this is from. |
Like the title of the album, another name which renders one third of itself redundant; “Roundtrip To Hell And Back” is a parable about a bad trip, and whilst not at all a bad song per say, I was however disappointed to find that the lyrics lacked the same raw emotive power I’d come to look forward to from the token slow song of each album. It’s predecessors - “Everytime I Die”, “Angels Don’t Kill”, and “Punch Me I Bleed” - being amongst some really genuinely moving CoB titles. “Roundtrip To Hell” as it ought to be known, is still a highlight of vocal delivery and “Laiho's impassioned screams”[1] might yet fool you into thinking it “means” as much as it’s ancestors did.
So, some coherent and relatable stuff across the boards and with some real emotional content that fans will pick-up on and appreciate, which is often more than we usually get. That said, be warned - the album is hardly deprived of the staple nonsense, “Ugly” (a track otherwise filled with goodies) is admitted by Laiho in Revolver Magazine to be just, and I quote: “screaming stupid stuff”[5] and I think the universally unpopular “Pussyfoot Miss Suicide” just about miss-steps as hard as you can do on such a sensitive subject...[5]
 |
| "Feeling down? Yeah don't let the door hit you on the arse on you're way out..." |
 |
| Even full-grown nihilists cry. |
The Music - 80%
Shaking our head as we storm out on the lyrics, this is what it’s all about with Bodom; the music, and the music is good. Objectively, the production is better (funded) than ever before, “it is obvious that Children of Bodom has some extra financial backing for “Relentless Reckless Forever”[4] and it really provides room for listeners to pick out the nuances in the extended metal line-up of this hyper-technical genre. “Laiho does well to remind us that he does a lot more with his guitar than he is often given credit for. It is important to listen for the less audible notes played”[1] particularly when trying to wrap your head around some of the intricate textures that the band has left for us to explore here. It’s all about extending the longevity of the entertainment value, and the long-term commitment you’re apparently making when you illegally download this album.
The new tonality adopted by the band is admittedly something that might have to be broken-in by a lot of listeners, but nobody is born innately enjoying any old extreme metal either. No, the excitement is in the journey, and this album is the same; if you’re already a fan, once you’ve learned a few words in this new language, my bet is you’ll be hooked. Tracks like “Roundtrip To Hell And Back” are particularly interesting for example, as the melodies deliberately lead you across familiar territory before abruptly swerving off-road at damn-near the end of every phrase. You think you’d learn your lesson with this but it really does take a while.
 |
| Hilarious caption. |
As for the rest of the material: “The album begins with a bang with the riff-laden ‘Not My Funeral’”[2]. Aggressive, melodic, and a chorus lead you could (if you weren’t such a hard-core metalhead) almost shed a tear to, but the real highlight of this track is the guitar solo, a huge deal for Bodomites and reassuring any fans who may have heard the single’s *ahem* “atypical” specimen first; this instrumental is as technical and focal as you could hope for. That said though, it’s still not more of the same; these are no longer the frenzied, desperate-to-impress, rabbit-like prods of a young impassioned teen, but rather the confident and well-paced thrusts that come with a seasoned, more experienced lover… errm I mean guitarist. The lead is expertly playful and as “technical as ever”[1]. Indeed for many tracks Laiho’s “inexorable refusal to solo at breakneck speed come the end of the song establishes it as an accomplished music composition”[2].
“Shovel Knockout” and “Ugly” are both hugely entertaining examples of the sort of ludicrous riffing that gets beaten around on this album, but even with a sense that “tongue is planted firmly in cheek”[4] critics trend on agreeing that this sort of album-defining material “deserves far more than an ironically raised eyebrow in appreciation”[3]; high-octane guitar and synth leads in abundance, all at the insane pace of that rhythm section, there’s plenty to hold your media-rotted, caffeinated attention-span here, whoever you are.
At tracks 4 and 5: “Pussyfoot Miss Suicide” has some novel melodic virtues on the sweeter side whilst “Children of Bodom subscribe to many of power metal's hallmarks”[3] and the title track “easily sears the hair off our bums”[4] as Laiho does well to show us how far those vocals have come, alongside some truly heinous displays of guitar trickery. It’s not enough however, as these tracks inevitably fall between the cracks left by the cataclysmic impacts of their counterparts. It’s hard to disagree that “songs such as ‘Pussyfoot Miss Suicide’ have no place in such a well-established band's repertoire”[1]. Eventually this dip in the middle of the album is swept away completely by the hectic groove of “Cry Of The Nihilist” which must undoubtedly be what critics are talking about when they mention “dirty riffing, rasped invectives and breakneck thrash”[3]. Sure it starts out ugly as hell but trust me, give it half a chance and it’ll play havoc with your carnal parts.
Obviously then the crowning cherry on top of the Christmas tree must be “Northpole Throwdown” at track 9, the final track provided you don’t have the Super Deluxe Japanese/US-Itunes/Canadian Bonus Edition. Oh but what’s this? The cherry is made of poo. Those children of Bodom have taken a huge befouling dump over my otherwise delicious Christmas tree. Why Alexi, Why…?
Look, I think I’m getting my metaphors a bit crossed here so allow me to speak plainly for a moment; I don’t know who this track is, or where it came from, but it certainly does not belong on this album. A “mish-mash of mediocrity”[2] from start to finish, it sticks out like a really crap song on the end of a really good album, and to quote a fellow respected critic “even when recording only nine songs it is difficult for a band to say no to filler”[1] and while we may disagree on exactly which track that is, it’s fair to say that at 36 minutes the album falls short of a metal epic.
Last Word - 85%
In summary, this 8th album “Relentless, Reckless Forever” sounds a bit different to the other albums, especially the early ones, and whilst I know that something as wildly controversial as that can upset a lot of people, I find myself hypocritically occupying the same space I’m condemning… When regarding my harsh-ass review of the final track, it would seem all of us have our standards of when Bodom have become “too progressive” and that line in the sand is just different for everyone.
That being said, this critic still can’t shake the feeling that it’s better to have risked the opinions of the dreary conservative crowd (myself included), than those who would quite validly be complaining if Children Of Bodom, after nearly 20 years of musical success, hadn’t somehow developed and experimented as musicians. I’m quite grateful that the boys of Bodom have the artistic integrity to, in spite of the commercial success of classic earlier titles, not shell-out formulaic imposters of these tried and tested spectrums, and instead keep exploring fresh territory.
…That’s the speech I would have given, had Cob not since then chickened-out and released “Halo Of Blood” – an album (for the purposes of debunking everything I just said) which may as well have been “Follow The Reaper 2”. I stand steadfast however, on the assertion that this album is probably the most musically interesting collection Bodom have released in their career. A rarely seen unique and worthwhile contribution to the metal scene, and regardless of your opinions on the “middle albums”, an outstanding return to form from a band that - if nothing else - are still not boring after 2 decades.
Sources:
[1] - Samuel Agani -Ultimate Guitar Team
http://www.ultimate-guitar.com/reviews/compact_discs/children_of_bodom/relentless_reckless_forever/
[2] - Kyle Ward - Sputnik Music Staff
http://www.sputnikmusic.com/review/42268/Children-of-Bodom-Relentless-Reckless-Forever/
[3] - Jamie Thompson - The guardian
http://www.theguardian.com/music/2011/mar/10/children-of-bodom-relentless-review
[4] - Bloodofheros - http://www.metalunderground.com/
http://www.metalunderground.com/reviews/details.cfm?releaseid=4400
[5] - Alexi Laiho - Children Of Bodom-@-Revolver Magazine
http://www.blabbermouth.net/news/children-of-bodom-frontman-talks-new-album-with-revolver-tv/
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