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Hate Crew Deathroll to be played in full next year

Discussion in 'Children Of Bodom' started by lordcatfish, Oct 15, 2019.

  1. lordcatfish

    lordcatfish Member

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  2. ESA1996

    ESA1996 Member

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    Well, dammit, perhaps I'll finally have to get off my ass and go watch it. I've been thinking about going to Tuska for a few years now, but I've yet to actually do it. :D
     
  3. (__Joonas__)

    (__Joonas__) † Followed the Reaper †

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    Should be full FTR next year instead. Well at least they finally bring back LBRH after 17 years.
     
  4. CharIie

    CharIie Formerly known as Joker and IDontKnowWhatToWrite

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    OH MY F***ING GOD!!!

    Lil' Bloodred Ridin' Hood, You're Better Off Dead and Triple Corpse Hammerblow live?!!!!! THIS IS A DREAM COME TRUE!
    Someone better film this in 4k!
     
  5. (__Joonas__)

    (__Joonas__) † Followed the Reaper †

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    Why not let people vote whether they wanna have FTR or HCDR album played in full? I think the band just feels more at home with the HCDR sound. Honestly, could work if they did HCDR in America and FTR in Europe.
     
  6. CharIie

    CharIie Formerly known as Joker and IDontKnowWhatToWrite

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    I'm from Europe and I prefer HCDR to FTW ^^
     
  7. P4T0U

    P4T0U Member

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    haha. I can't imagine Alexi relearning Triple Corpse Hammerblow. Didn't he say he hated the song? lol
     
  8. (__Joonas__)

    (__Joonas__) † Followed the Reaper †

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    After In the Shadows anything’s possible, and that song seemed to be amazing live.
     
  9. CharIie

    CharIie Formerly known as Joker and IDontKnowWhatToWrite

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    The problem wouldn't be him learning it, but managing to play it live properly.
     
  10. ESA1996

    ESA1996 Member

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    It shouldn't be that difficult, right? I'd imagine stuff like You're Better Off Dead would be harder, as would Kissing the Shadows though that's from FTR.
     
  11. Стас Проклятый

    Стас Проклятый Boss Russian Hate Crew

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  12. (__Joonas__)

    (__Joonas__) † Followed the Reaper †

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    From albums post FTR I'd like to have a playthru of Blooddrunk if I could decide. But I was really expecting FTR to get that playthru now.
     
  13. Hatebreeder8

    Hatebreeder8 New Metal Member

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    Well, nothing of this sort will happen now, but I will still give my opinion.

    FTR is arguably a better album than HCDR, but I consider TCH & LBRH to be better songs than TOMS & NC. I know they already played Lil' Bloodred, but that was only on the very first gigs after the album came out (in Japan). YBOD is not really the same thing without Ale's voice in the chorus + everyone that saw them on the 2003 European your already heard it. It's still a great track, much better than most other "fuck you" songs that came later. So I would have prefered HCDR over FTR (albums) as the setlist

    Personally I would love to see the whole Blooddrunk album live. But honestly that's mostly because I've seen them so many times that it would just be great to hear 'rare' songs in general. The album isn't really that good compared to their early material.
     
  14. Johnny_victor

    Johnny_victor Member

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    Blooddrunk is their last good album. HOB had potential, but it was done too hasty and never finished properly. Ideas all over the place and not connected properly, even Alexi admitted this. Hexed turned out better than I expected, but still, it gets nowhere close to the first three records.

    HCDR has good music, but I never liked the production on that one. Kind of feels like they added harshness on everything so that they sound more American, and I don't like that.
     
  15. (__Joonas__)

    (__Joonas__) † Followed the Reaper †

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    Yup, definitely feel like Bodom's truest and most unforgettable style was the better songs on Hatebreeder.
     
  16. Hatebreeder01

    Hatebreeder01 Member

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  17. (__Joonas__)

    (__Joonas__) † Followed the Reaper †

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    I believe I've cracked the creative drought that happens to composers. They start thinking too much with theory, shapes and patterns, which hinders esoteric freedom. Creating songs should be approached by forgetting theory, just listening to the ideas in your mind, and playing them out, then worrying about slotting it to the boundaries of scales and such. You're limited if you approach songmaking with the things you already know. You need to meditate to hear your silent source of creativity and just try to play what you hear, eventually it will form into sensible musical content. This is something very easy to forget, you need to tattoo it on your forehead: you must hear the idea in your head first, only then touch your guitar. As you lose connection with your source of creativity, you'll drift to monkeying your guitar aimlessly, then only forced-out shit will happen. It's hard to connect to the creativity source and even if you can not many can hear soulful things, and even if you can, can you hear them vividly enough to tell apart each instrument?
     
    #17 (__Joonas__), Nov 28, 2019
    Last edited: Nov 28, 2019
  18. rj rl

    rj rl multidimensionally dyslexic

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    Sounds like something Deepak Chopra would say, i.e. a bunch of nonsense. You can't create interesting music without understanding how and why it works.
     
    tragician likes this.
  19. (__Joonas__)

    (__Joonas__) † Followed the Reaper †

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    Kind of black and white view. Unless music is just compositions on paper to you. You can totally have soulful, emotionally transcending music rid of any keys or scales whatsoever. You can't, however, create interesting music with all the theory in the world, if there is no soul. I know cos I've done one album chromatic and one in minor keys (minus one song), albeit the creativity level was the same so the keys did make it feel more coherent. Still, I find the price is the extra difficulty in making it fit within scale, sometimes in lead melody pitches and fitting melody lines in bars with time signature, but mostly when it comes to making 2nd guitar backing stuff like power chords, and especially if you want to harmonize the lead melody with a constant interval, but can't as you have to evade accidentals unless you want to use a clusterfuck of passing tones. Thing is, some use theory laws to make it easier (or musically safer), but making it easier without sacrificing the nuances of mood is tough.

    Then what makes it 'work'? The abstract laws of tension and resolution? It seems very vague to me (at least hard to grasp), which gives musical freedom, as it's fundamentally spiritual, otherwise we could have computers create interesting music. The whole thing of tone X wanting to resolve into tone Y is something that should be felt, cos when going by the book all the music becomes the same. (I'm not on the level of understanding or utilizing this much in theory, tho.) This of course applies less in genres like black metal where you intentionally have more dissonance and tension than usual to create suspense and restlessness, to the point where release must be done tastefully to avoid a feeling of warmth, hope and satisfaction, instead creating other sorts of feelings and mental imagery.

    You can argue, but if there's something to suggest what direction I should look into next then do point the way. Honestly I have no clue what to learn next, maybe harmony stuff, there's some cue how to build good harmonies, but it still seems to come only thru trial and error, especially when there's more than two notes being played.
     
    #19 (__Joonas__), Dec 1, 2019
    Last edited: Dec 1, 2019

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