Album Review: Halo of Blood (Children of Bodom)

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Continuing my tour of Europe, I decided to stop by Espoo, Finland, to listen in on Children of Bodom’s latest album, Halo of Blood (Nuclear Blast Records).  Arguably the most popular metal group in Finland, Children of Bodom have seen each of their previous seven albums achieve Gold certification in their home country.  In light of such long-running success, the group has had me wondering when it would hit a creative wall.  The stories of groups like Metallica have left me convinced that most bands simply can’t keep it up forever, that they either run out of ideas as they age or allow their artistic egos to lead them astray.  Well, apparently Childrem of Bodom is not one of those bands.  Their recent effort is stunning.  With Halo of Blood, Bodom adds ten more scrumptious items to their long menu of metallic delectables.

            In their signature style, which both draws on and transcends multiple metal traditions, the Finnish giants deliver an album of technical virtuosity and diverse approaches that is sure to have something for every metal fan.  From the first track onward, guitar-maestro Alexi Laiho drops lead flourishes like tasty morsels, baiting listeners along until he snares them with his sophisticated solos.  Standing at the emotional core of the album, the rhythm section showcases its skill by commanding slow trudges and blistering gallops with equal drama.  And, as always, Janne Wirman’s keyboard work is a highlight of the recording.  It truly sets Children of Bodom apart from other acts.  His dazzling solo digressions buzz with an intergalactic flair, and his star shines even brighter when he plays in tandem with his fellow musicians.  For me, the Bodom sound is at its pinnacle when Laiho and Wirman harmonize on their respective instruments.

            The strength of Halo of Blood lies in its variety.  The tone of the album ranges everywhere from blissfully bleak to tantalizingly triumphant.  Not afraid to change pace, the Bodomites offer the slow, thundering ballad that is “Dead Man’s Hand on You” alongside the speed-driven assault of "Damaged Beyond Repair."  The track, “Halo of Blood,” presents black metal stylings reminiscent of Satyricon, with ominous tremolo picking and shuddering blast beats.  On the other end of the spectrum, the coupled rhythmic barrage of guitar and bass pedal work on “Transference” reminds this reviewer of death metal innovators, Death.  To top it all off, the band tags interesting spoken word samples on the ends of “Waste of Skin,” “Scream for Silence,” and “All Twisted.”  These samples add a fresh flavor to the album and help to create thematic continuity.

            The only thing I take issue with on this album is the lyrical content.  Many of the lines, such as “Promise that one day / All of you are going down” and “Bottoms up, let’s drown my sorrow,” struck me as unimaginative.  I felt that Children of Bodom offered nothing new lyrically, providing the same angst ridden laments you can find on their previous albums.  That said, the vibrant and technically proficient instrumentals made this a non-issue; I wasn’t paying attention to the lyrics anyway.  Overall, a strong album.

Score: 8/10