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Discussion in 'Children Of Bodom' started by COBHC Webmaster, Oct 17, 2005.
Did she really say Symphonic Black Metal?
The first two parts of the cooking show with english subtitles (didn't see the point in translating the beginning of the show):
The picture quality is a bit poor, but tolerable. Third one coming up tomorrow.
Yeah lol she probably mixed them up with Dimmu or something. About the cliché question "where does the name COB come from" I think Alexi should just say it's named after a lake in their hometown where an unsolved mass murder happened years ago.
What is the song starting at 6:38, anyone? Sounds beyond awesome.
@ random-x: Thanks so much for doing that! I can follow quite a bit of it, but understanding Alexi is pretty challenging at times, so I really appreciate your efforts
I was superfast
And thanks, sleeper666!
thanks a lot random-x!
Thanks @random-x you're quite fast! Could understand couple of few words and it was a "OMG" thing for me. ^^
Children Of Bodom Raised Hell In Bengaluru
Finnish black metal band Children of Bodom are working on their eighth album and describe their songwriting process as airport-friendly
By Sharin Bhatti | Features October 16, 2012
The last time Finnish black metallers Children of Bodom were in the studio two years ago while working on their then new album Relentless Reckless Forever that released in 2010, there were thunderstorms to deal with. The band had set up a make-shift lake-side studio at the iconic Lake Bodom [the ground that the band is named after, which was known for a spate of serial killings in 1960] and while they were recording drums for their neck-snapping track Shovel Knockout, a tornado hit the lake, cutting off power to the studio. Taking it as an existential sign, bassist Henkka Seppälä and lead singer Alexi Laiho started singing actor Eddie Murphys 1985 disco hit Party All Night. When the band returned to their repaired studio to start recording again, the first thing the band recorded was a high-energy, screechy cover of the song that made it to the album that sounded like that exact moment when the wind thundered down the bay and carried this eerie promise of taking with it everything in its path, according to Seppälä.
Seven studio albums including an all-covers album later, the band is back in the studio recording their eight album. The band spent most part of 2011 on the road finishing a grueling North and South America and South East Asia tour. 2012 has been about going back to the drawing board and writing new material when they released a compilation album, Holiday At Lake Bodom featuring their anthemic Hate Crew Deathroll, Warheart, a music video for their tornado recalling Shovel Knockout and two unpredictable covers of Jessies Girl by Rick Springfield and Im Shipping Up To Boston by Dropkick Murphys. Recently, they released Roadkill, a coffee table photo book compiled from their tours from 2008 to 2011.
Last month, the band finally got on the stage again when they headlined the Kingfisher Great Indian October Fest in Bengaluru after which they went on to perform in Tokyo, Japan. Now back home in Helsinki, the band is pooling their collective, unpredictable creativity to write material for their 2013 album. A few days ahead of flying to India and Japan for their shows, Seppälä, who was recovering from pneumonia spoke to us in a casual, drug-induced state about the distinctly popular COB sound, the new album and life lived live.
There was a rumor that you would be playing in India two years ago and you are finally performing this year. Any expectations or inhibitions?
Jaska Raatikainen and Henkka Seppälä (right) in front of a Shiva statue in Bengaluru
Strangely, I have always wanted to visit India. The last time we were approached for a gig in India, we got all very excited and looked up these incredible places to visit in Mumbai, Dharamshala and New Delhi besides the obvious places you hear about. But sadly, it didnt work out that time. This time, I am going to explore the temples and learn more about Shiva. I think he is the God of destruction [in Hindu Mythology, Shiva is the destroyer as part of the Hindu Trinity.] I have also read Gregory David Roberts Shantaram and really want to visit his Mumbai. We really wish we had time to visit all these places.
Speaking of Asia, you have been visiting Japan for a very long time. You released a live album [Tokyo Warhearts Live] from a gig in the country and now youve signed a deal with the Japanese record label Marquee Inc. Whats the big draw in Japan?
We signed on with the label to facilitate distribution in Japan. We recently signed on with Nuclear Blast, after a lifetime with Spinefarm. Nuclear Blast is not available in Japan, which is a country we have to be present in. We first went to Japan to perform in Tokyo in July 1999. At that time we had played a few places in Europe and US, but had never been to Asia. We performed in this really huge arena over two days and there must be some 1,00,000 people in the crowd. The Japanese fans really let loose. We played a two-hour set on each day and the energy in the crowd didnt drop for a second. I remember this one face in the front row, right behind the first barricades covered in corpse paint and he was constantly jumping. That is the kind of mad frenzy we love feeding on. Japan is a great nation for COB. They really know their metal.
Holiday At Lake Bodom was a brave album to release after Relentless Reckless Forever, considering the tracklist is a throwback to early COB. Besides Shovel Knockout, the compilation has tracks from your early albums. Why did you choose to push back your newer material?
Because it aint fucking good enough [laughs]. People talk about evolution of sound when they change bandmembers or experiment with different sounds. COB has been a black metal band from the get go. We really are into dark stories and burn-the-church sort of symbolism. And we are not apologetic about it. We have had members join and quit, but its never dented our ideology simply because we are the band we were when Something Wild released. There is the same energy, same music patterns that we havent gotten tired of making and we never will. That is not to say that our sound hasnt evolved either. With Follow The Reaper we went into darker territory exploring death metal. There was more dynamic riffing and insanely beat heavy and it worked really well for us. Like that every album has been a progression. Holiday At Lake Bodom is a nostalgia packet. Its for the fans and we just picked out the best known songs we would perform live and we put it on an album.
To read the full interview, wait for the November issue of Rolling Stone India
It's a joke but there might be a hint of truth in it. I wouldn't get the idea to joke about such things unless I really thought so.
"Holiday At Lake Bodom was a brave album to release after Relentless Reckless Forever, considering the tracklist is a throwback to early COB. Besides “Shovel Knockout,” the compilation has tracks from your early albums. Why did you choose to push back your newer material?"
What an idiot, this doesn't even deserve a reply. Brave? The interviewer is like a naive musical amateur who thinks the newest material is always the best.
-"Because it ain’t fucking good enough."
"COB has been a black metal band from the get go. We really are into dark stories and burn-the-church sort of symbolism."
Hmm, I sense this is "preparation" for a change of COB's image into something darker. I really hope so, cos RRF was like pussymetal in terms of darkness. I mean, they're not really that dark. Only SW and BD were darkish, and parts of other albums. There's too much silly humorous material on their albums to call them church burners. But I sincerely wish them the best of luck in finally coming to realization of their potential and taking on where they left off with the dark and dynamic material. This being said I hope something clicked in Alexi's head finally and he realized COB should be about horror stories and not about hangovers.
"With Follow The Reaper we went into darker territory exploring death metal. There was more dynamic riffing and insanely beat heavy and it worked really well for us."
Go back there, and add more interesting guitar melodies and riffs and atmospheric dark keyboard soundworlds. Make 9 cult-material songs. With this kind of cool new sound and the right influences its possible for Alexi to make the ultimate Bodom album. COB needs more darkness, melody and creativity. I hope there's some riffing and composions that's inflicted by primitive rage, cos if I can sense that it's a great way to relieve the immense hate that gets ignited inside me everytime some fucker treats me bad in life. I think Hatebreeder is a song that demonstrates this in incredible ways (also the song that features the best ever COB vocal line in 1:35 - 1:40). One day Alexi was able to create this shit, I want that back.
Altough this song has a bad section in the middle and end with the gayass vocals, another stained gem.
Listen to this fucking ass-reaping metal song:
When I talk about the simple but moody guitar riffs, the one on 0:59 is one of them and there should be more stuff like this. This is like pure fucking annihilation done with technically simple but creative atmosphere. Can you sense the heart in the vocals? Do this. There's mysticism and anger hand-in-hand. The soundworld could actually be improved easily from Hatebreeder. This really gives salvation to the anger-plagued soul. Great vocals thorought the live version of this song. Alexi at his best was an epic vocalist. And what a way to make a fake-ending to the song, only to awake with its epic melody line and triumph in blazing solos.
Another interview with Alexi in Bangalore
"four new songs written ... new album gonna be released next April/May"
... So do you think before you speak or? Because half of the shit you've said here was so painfully retarded that I'm kind of curious as to whether something is mentally wrong with you (and no, this isn't something to brag about, so inb4 you try to) or you're just a little slow altogether. You've honestly overanalyzed their music to the point that even if I were Alexi I'd be kind of afraid to know I have fans out there that look that far into what I make.
Also, technically simple made lol. Maybe you should learn to actually plan an instrument before you go on these rants, especially since you're venting on how someone else should play theirs.
Alexi's turn in the Headbanger's Kitchen
I know man, it's just the level of anxiety and passion boils over the edge at times. And I can (could) play half of the rhythms and melodies and some solos of their old shit, the new stuff is more boring to play.
Try to take it down a notch. If you don't care what people think of you on the internet or in general, then by all means go right ahead and rant away, but most people here just don't want to hear it anymore. It's gotten old. And good for you, I didn't think you played an instrument. Do you have any videos, or pics of your gear and what not? I'm sure people here would find that way more interesting than another conversation about old school Bodom being better than the new lol.
I bet you can't even play any rythm part clean. Same for the solos. You can play solos of their older albums? Really?
Enmity is totally right. You don't know what you'Re talking about. You said that they should do more interesting riffs like they did on the older albums? Well, I think most of the riffs on HB or FTR are lame comparing to those on AYDY and RRF. More creativity?!? Joonas, RRF beats the shit out of every earlier album when it comes to creativity. And thats not based on my personal opinion. Every guitarist or musician would tell you the same.