ohohohoh....I respect Sleeper as much as myself. Terrorizer didn't choose the right title for their poll. It could've been the most popular guitarist or the most sex appealing guitarist.
COB Interviews
- Thread starter COBHC Webmaster
- Start date
ohohohoh....I respect Sleeper as much as myself. Terrorizer didn't choose the right title for their poll. It could've been the most popular guitarist or the most sex appealing guitarist.
DeneveR
Member
- Apr 12, 2007
- 169
- 0
- 16
My aggression was aimed towards Terrorizer mag not towards sleeper. :Smug:
And as i was angry i forgot to thank sleeper, Thank youu!
sleeper666
MetalMutha
happilemon
Member
Thanks Kristel,hannah and Sleeper for the interviews and scans 
Love this one! Looks like a movie promo poster
lol Hope they put some of that on the new dvd.
thanks a lot, hannah
here are the pictures from the article
Love this one! Looks like a movie promo poster
lol Hope they put some of that on the new dvd.
Pics from Mitch:
Translated Interview:
First page: Are they retarded?
In 2003, year of release of Hate Crew Deathroll, their fourth album, Children of Bodom still plays Children of Bodom. And it's reassuring because even by searching, we couldn't see who could do it as good as him!
Second Page:
Children of Bodom, it's a bit the story about "Success Story(?)" american style. Native of Finland, Alexi Laiho, a young guitarist fan of staining heavy hard-rock, creates a metal group with friends from high-school. Except this band gave birth to a really personal mixture, between black, death, heavy and thrash. It's that kind of sound who will draw Spinefarm's attention, country's biggest independant metal label(Nightwish and Impaled Nazarene...). In 1997 appears the first formation's album, Something Wild, very well welcomed by the criticism who goes into raptures over these young prodigies. But It's Hatebreeder, released 2 years later, who will make them stars, as well as in their cold region than in Europe. Besides, Alexi is rapidly becoming a kind of a metal icon thanks to his thrashy look and his irreprochable technique. In 2001, Follow the Reaper, recorded at Peter Tägtgren's Abyss Studio (Hypocrisy, Pain), and the "Hate Me" single stays at the head of the finnish charts during many weeks. Today, Children of Bodom is back with Hate Crew Deathroll, without any notable changes in their music. Will they finish like Iron Maiden? Only the future will tell us, but neither Alexi nor Alexander Kuoppala (guitar) seem to worry about it.
MAD IN FINLAND
Q: When did you start working on the album?
Alexi Laiho: We have started to write Hate Crew Deathroll around February 2002 and we entered the studio in August to record for 6 weeks. The mixing took 10 days.
Q: From your point of view, what are the principal differences between Hate Crew Deathroll and your past album, Follow the Reaper?
Alexander Kuoppala: We recorded this new album in the Hastia studios in Finland like we did for Something Wild and Hatebreeder. Follow The Reaper was recorded in Sweden. Before entering the studio, we were all ready to record because we spended almost all our summer tu repeat the new tracks.
Alexi Laiho: It's also the first time in Children of Bodom's history everyone was satisfied with the disc's integrity. On our previous opuses, it happened to be really happy about our work while being really disappointed by the product of it and vice versa. But now, everything happened according to our desires. We can't expect better.
Q: Can we say Hate Crew Deathroll kind of corresponds to a return to Children of Bodom's roots? (err...)
Alexi Laiho: Yes. This album is alot more direct than our previous. The ensemble rings really harsh. Some riffs are old school, others death-like, thrash, even punk. For lots of groups, the fourth album is really important and the pressure is enormous while recording. But it wasn't our case because we never considered changing anything about our music.
Q: Does the red on the CD case reflect the style and the aggressivity of your first album?
Alexi Laiho: It has nothing to do about the music. But... I won't hide it from you but the CD case is strongly connected to what the album contains: the emotions and the athmosphere emanated by its tracks.
Q: So your CD cases have a color code?
Alexi Laiho: Yes, I even think the CD case is the only thing we needed to think about (laughs). No, in fact, we don't care about it, it just needs to own!(CD) The "Death" character on the HCD case represents perfectly what the disc is. The character, with his scythe's help, wants to cut your head off, and that's what we want to do with this disc, cut our listeners' head. That's why we really wanted a red CD case.
Q: You are another star in the "Constellation Universal Music". Why did you quit "Nuclear Blast"? (stupid...)
Third page:
Alexi Laiho: I will clarify the situation: We are signed with the finnish label Spinefarm and we were only licensed with Nuclear Blast. Universal bought a major part of Nuclear Blast so logically, our CD's were distributed by them except in Finland, where Spinefarm still produces and distributes our stuff. About Nuclear, we don't blame nothing about them. They did an excellent job for the group. We just came to a point where we thought a major label could be more appropriate for the group's promotion and distribution. But it also implies a risk for us. We only represent a small fish in a big ocean but I wont advance myself (?) (smile). I prefer waiting and see how things will evolve. If everything works correctly, it's gonna be awesome! Or else, too bad(smile).
Q: With Satyricon's signature with Emi and Cradle of Filth's with Sony, the extreme metal groups seems to be in vogue at the majors. Can't we not be afraid that it's only about another fashion added to the rest?
Alexi Laiho: I don't think so. We never followed any fashion. We aren't scared of it. If some people thinks that signing a contract with a major is fashionising, it's their problem. I don't care (laugh). For me, it's really a waste of time to think about those things. I think it's a really good thing for groups like Cradle and Satyricon to be signed with majors, because it shows how extreme metal is gaining importance. And if those signatures can allow some people to listen to metal instead of listening to Britney Spears, all I see is positive. I think that our signature could be useful to open doors to other extreme metal groups.
(GuitariSteve, thanks...I'm hungry)
=============================
DUPLICATE
=============================
A.L. : I'll try to clarify the situation: first we're a band signed by Spinefarm - the Finnish label - and we we're only under licence at Nuclear Blast. Universal bought the major part of Spinefarm so they obviously put our CDs on sale all around the world. Except in Finland where our CDs are still produced and put on sale by Spinefarm. To go back over Nuclear [Blast], we have nothing to blame, they've promoted the band very well. We were just arriving to a point where we thought a Major would have been more appropriated for the promotion and the distribution. But it also involves a risk for us. We're only a little fish in a large ocean. But i'm not going to get myself any further (smile). I'd rather wait and see how things will evolve. If everything goes well, it'll be awesome. If not that's just too bad (smile).
WITH SATYRICON AT EMI AND CRADLE OF FILTH AT SONY, EXTREME METAL BANDS SEEM TO BE IN FASHION TO MAJORS. CAN'T WE BE AFRAID IT'S JUST A NEW KIND OF FASHION?
A.L. : (making himself the target) I don't think so. We have never been into any fashion. We're not afraid of that. If some people think that getting signed by a Major is fashion, that's their problem. I don't give a damn (laughs). If you ask me, thinking of this stuff is a waste of time. I really think it's great for bands such as Cradle [Of Filth] or Satyricon to get signed by Majors because it shows how extreme metal is becoming more and more important. And if these signatures can get some people into metal instead of going brain-dead with Britney Spears, it's all good. I think our signature will comes handy to lead the way for other extreme metal bands.
=====================
/DUPLICATE
=====================
AT YOUR DEBUTS ON STAGE, YOU WERE TOUGHT TO BE YOUNG GUITAR PRODIGIES. DO YOU THINK PEOPLE CONSIDER YOUR BAND AS A GREAT ONE?
A.L. : We see things from within. We haven't the same vision as people outside the band? It's possible that some people have considered us as prodigies but at this time we were just a faggot punk band (laughs). We're nothing more than friends who like to play music. In our band, we always try to surpass ourselves and master our instruments better. We've never thought - and we never will - that we have reached the top. We're all the time questionning ourselves. We're never "too good". I'm sure one can always go beyond his abilities. It's a bit like writing songs. You're getting better with every album. The tours - moreover - help you to find new ideas for your songs and become a better musician. The stage is a bit like school. You learn to become a professional musician, how to play your instrument well. All I can say is that we haven't got a music degree yet. There's still a long way to go (smile).
GUITAR HEROES?
ALEXI, OUR READERS ELECTED YOU AS "GUITARIST OF THE YEAR" IN THE 2002 REFERENDUM. HOW CAN YOU EXPLAIN THIS GRATTITUDE?
A.L. : (visibly embarrassed) Woah! I don't understand such a fad because i've never considered myself as a guitar hero. I'm still learning how to play, I'm looking for influences at different musicians. It's very flattering but... there are so much great guitarists on Earth, technical or not moreover. If you ask me, technique means nothing. A guitarist is good only if he involves the right feeling in what he plays. Guitarists such as Zakk Wylde (Black Label Society / Ozzy Osbourne), Jake E. Lee (ex-Ozzy Osbourne) or Steve Vai are excellent guitarists because they bring up something more than just pure technique. They have a personnality which you can feel through their play. I don't like guitarists who come out from a big music school and who pick the strings as if they're afraid of hurting them (he illustrates his words by a nice imitation of the typical prodigious guitarist: guitar hold very high and an extreme refinement in digital motions). When you're guitarist, you also have to make a show and pick you strings hard (laughs).
HOW DO ALEXANDER AND YOU SEPARATE THE GUITAR TRACKS?
A.L. : We play together since so many time that we don't really decide in advance who will play this or that part. I love playing with this dude because I know exactly what to do just by looking at him. It's so easy when we play together. At first I didn't give a damn of what he could play. I had fun playing solos here and there without really dealing with how could the rythm guitar sound. But as one goes along I got a lot more interested into rythm guitar and I figured out that without this guitar, you can still have fun alone with yourself but it's no use. Now we both know what to do and we don't have to discuss for hours to know if I play this part and him to other. When writing a song, we first discuss that before talking to the other band members.
ALEXANDER, HOW COULD YOU SPECIFY ALEXI'S PLAY?
A.K. : His play is very powerful. I hate guitarists who play like chickens (see...
That's all... In my part, I translated with precision... almost word per word so I might sound strange sometimes.
GuitariSteve: You translate and write in English alot better than me.
Thanks GuitariSteve and Mitch!
Translated Interview:
First page: Are they retarded?
In 2003, year of release of Hate Crew Deathroll, their fourth album, Children of Bodom still plays Children of Bodom. And it's reassuring because even by searching, we couldn't see who could do it as good as him!
Second Page:
Children of Bodom, it's a bit the story about "Success Story(?)" american style. Native of Finland, Alexi Laiho, a young guitarist fan of staining heavy hard-rock, creates a metal group with friends from high-school. Except this band gave birth to a really personal mixture, between black, death, heavy and thrash. It's that kind of sound who will draw Spinefarm's attention, country's biggest independant metal label(Nightwish and Impaled Nazarene...). In 1997 appears the first formation's album, Something Wild, very well welcomed by the criticism who goes into raptures over these young prodigies. But It's Hatebreeder, released 2 years later, who will make them stars, as well as in their cold region than in Europe. Besides, Alexi is rapidly becoming a kind of a metal icon thanks to his thrashy look and his irreprochable technique. In 2001, Follow the Reaper, recorded at Peter Tägtgren's Abyss Studio (Hypocrisy, Pain), and the "Hate Me" single stays at the head of the finnish charts during many weeks. Today, Children of Bodom is back with Hate Crew Deathroll, without any notable changes in their music. Will they finish like Iron Maiden? Only the future will tell us, but neither Alexi nor Alexander Kuoppala (guitar) seem to worry about it.
MAD IN FINLAND
Q: When did you start working on the album?
Alexi Laiho: We have started to write Hate Crew Deathroll around February 2002 and we entered the studio in August to record for 6 weeks. The mixing took 10 days.
Q: From your point of view, what are the principal differences between Hate Crew Deathroll and your past album, Follow the Reaper?
Alexander Kuoppala: We recorded this new album in the Hastia studios in Finland like we did for Something Wild and Hatebreeder. Follow The Reaper was recorded in Sweden. Before entering the studio, we were all ready to record because we spended almost all our summer tu repeat the new tracks.
Alexi Laiho: It's also the first time in Children of Bodom's history everyone was satisfied with the disc's integrity. On our previous opuses, it happened to be really happy about our work while being really disappointed by the product of it and vice versa. But now, everything happened according to our desires. We can't expect better.
Q: Can we say Hate Crew Deathroll kind of corresponds to a return to Children of Bodom's roots? (err...)
Alexi Laiho: Yes. This album is alot more direct than our previous. The ensemble rings really harsh. Some riffs are old school, others death-like, thrash, even punk. For lots of groups, the fourth album is really important and the pressure is enormous while recording. But it wasn't our case because we never considered changing anything about our music.
Q: Does the red on the CD case reflect the style and the aggressivity of your first album?
Alexi Laiho: It has nothing to do about the music. But... I won't hide it from you but the CD case is strongly connected to what the album contains: the emotions and the athmosphere emanated by its tracks.
Q: So your CD cases have a color code?
Alexi Laiho: Yes, I even think the CD case is the only thing we needed to think about (laughs). No, in fact, we don't care about it, it just needs to own!(CD) The "Death" character on the HCD case represents perfectly what the disc is. The character, with his scythe's help, wants to cut your head off, and that's what we want to do with this disc, cut our listeners' head. That's why we really wanted a red CD case.
Q: You are another star in the "Constellation Universal Music". Why did you quit "Nuclear Blast"? (stupid...)
Third page:
Alexi Laiho: I will clarify the situation: We are signed with the finnish label Spinefarm and we were only licensed with Nuclear Blast. Universal bought a major part of Nuclear Blast so logically, our CD's were distributed by them except in Finland, where Spinefarm still produces and distributes our stuff. About Nuclear, we don't blame nothing about them. They did an excellent job for the group. We just came to a point where we thought a major label could be more appropriate for the group's promotion and distribution. But it also implies a risk for us. We only represent a small fish in a big ocean but I wont advance myself (?) (smile). I prefer waiting and see how things will evolve. If everything works correctly, it's gonna be awesome! Or else, too bad(smile).
Q: With Satyricon's signature with Emi and Cradle of Filth's with Sony, the extreme metal groups seems to be in vogue at the majors. Can't we not be afraid that it's only about another fashion added to the rest?
Alexi Laiho: I don't think so. We never followed any fashion. We aren't scared of it. If some people thinks that signing a contract with a major is fashionising, it's their problem. I don't care (laugh). For me, it's really a waste of time to think about those things. I think it's a really good thing for groups like Cradle and Satyricon to be signed with majors, because it shows how extreme metal is gaining importance. And if those signatures can allow some people to listen to metal instead of listening to Britney Spears, all I see is positive. I think that our signature could be useful to open doors to other extreme metal groups.
(GuitariSteve, thanks...I'm hungry)
=============================
DUPLICATE
=============================
A.L. : I'll try to clarify the situation: first we're a band signed by Spinefarm - the Finnish label - and we we're only under licence at Nuclear Blast. Universal bought the major part of Spinefarm so they obviously put our CDs on sale all around the world. Except in Finland where our CDs are still produced and put on sale by Spinefarm. To go back over Nuclear [Blast], we have nothing to blame, they've promoted the band very well. We were just arriving to a point where we thought a Major would have been more appropriated for the promotion and the distribution. But it also involves a risk for us. We're only a little fish in a large ocean. But i'm not going to get myself any further (smile). I'd rather wait and see how things will evolve. If everything goes well, it'll be awesome. If not that's just too bad (smile).
WITH SATYRICON AT EMI AND CRADLE OF FILTH AT SONY, EXTREME METAL BANDS SEEM TO BE IN FASHION TO MAJORS. CAN'T WE BE AFRAID IT'S JUST A NEW KIND OF FASHION?
A.L. : (making himself the target) I don't think so. We have never been into any fashion. We're not afraid of that. If some people think that getting signed by a Major is fashion, that's their problem. I don't give a damn (laughs). If you ask me, thinking of this stuff is a waste of time. I really think it's great for bands such as Cradle [Of Filth] or Satyricon to get signed by Majors because it shows how extreme metal is becoming more and more important. And if these signatures can get some people into metal instead of going brain-dead with Britney Spears, it's all good. I think our signature will comes handy to lead the way for other extreme metal bands.
=====================
/DUPLICATE
=====================
AT YOUR DEBUTS ON STAGE, YOU WERE TOUGHT TO BE YOUNG GUITAR PRODIGIES. DO YOU THINK PEOPLE CONSIDER YOUR BAND AS A GREAT ONE?
A.L. : We see things from within. We haven't the same vision as people outside the band? It's possible that some people have considered us as prodigies but at this time we were just a faggot punk band (laughs). We're nothing more than friends who like to play music. In our band, we always try to surpass ourselves and master our instruments better. We've never thought - and we never will - that we have reached the top. We're all the time questionning ourselves. We're never "too good". I'm sure one can always go beyond his abilities. It's a bit like writing songs. You're getting better with every album. The tours - moreover - help you to find new ideas for your songs and become a better musician. The stage is a bit like school. You learn to become a professional musician, how to play your instrument well. All I can say is that we haven't got a music degree yet. There's still a long way to go (smile).
GUITAR HEROES?
ALEXI, OUR READERS ELECTED YOU AS "GUITARIST OF THE YEAR" IN THE 2002 REFERENDUM. HOW CAN YOU EXPLAIN THIS GRATTITUDE?
A.L. : (visibly embarrassed) Woah! I don't understand such a fad because i've never considered myself as a guitar hero. I'm still learning how to play, I'm looking for influences at different musicians. It's very flattering but... there are so much great guitarists on Earth, technical or not moreover. If you ask me, technique means nothing. A guitarist is good only if he involves the right feeling in what he plays. Guitarists such as Zakk Wylde (Black Label Society / Ozzy Osbourne), Jake E. Lee (ex-Ozzy Osbourne) or Steve Vai are excellent guitarists because they bring up something more than just pure technique. They have a personnality which you can feel through their play. I don't like guitarists who come out from a big music school and who pick the strings as if they're afraid of hurting them (he illustrates his words by a nice imitation of the typical prodigious guitarist: guitar hold very high and an extreme refinement in digital motions). When you're guitarist, you also have to make a show and pick you strings hard (laughs).
HOW DO ALEXANDER AND YOU SEPARATE THE GUITAR TRACKS?
A.L. : We play together since so many time that we don't really decide in advance who will play this or that part. I love playing with this dude because I know exactly what to do just by looking at him. It's so easy when we play together. At first I didn't give a damn of what he could play. I had fun playing solos here and there without really dealing with how could the rythm guitar sound. But as one goes along I got a lot more interested into rythm guitar and I figured out that without this guitar, you can still have fun alone with yourself but it's no use. Now we both know what to do and we don't have to discuss for hours to know if I play this part and him to other. When writing a song, we first discuss that before talking to the other band members.
ALEXANDER, HOW COULD YOU SPECIFY ALEXI'S PLAY?
A.K. : His play is very powerful. I hate guitarists who play like chickens (see...
That's all... In my part, I translated with precision... almost word per word so I might sound strange sometimes.
GuitariSteve: You translate and write in English alot better than me.
Thanks GuitariSteve and Mitch!
sleeper666
MetalMutha
GuitariSteve
Member
- Aug 21, 2008
- 492
- 0
- 16
I can add that the "You know"s were not translated into French! Maybe we should have add them in our translation!
@ P4T0U: thank you for your compliment, I really appreciate that!
Maybe we should have add them in our translation! @ P4T0U: thank you for your compliment, I really appreciate that!
I can add that the "You know"s were not translated into French!
@ P4T0U: thank you for your compliment, I really appreciate that!
Interesting read, thanks.. I just don't understand people who state as fact in their article how every COB album sounds the same. You need to be a mentally retarded poltroon to think like that. Also good to hear once again that Hatebreeder and Follow the Reaper ended up sounding like crap after the studio work even tho the songs were good stuff. I always think the band should someday return to record them again..
Or they can just remaster the original tracks. There really wouldn't be any need to re-record everything.
children of COB
Deadnight Drinker
So to you HB and FTR don't sound good? IMO ETID sounds horribly cracking and noisy, but the rest of FTR and the full HB album sound fucking good. What's what makes you dislike the sound of those albums?
What's what makes you dislike the sound of those albums?
Some things. Hatebreeder lacks punch and Follow the Reaper is too trebly. For example compare Towards Dead End intro studio version to the track on Tokyo Warhearts. I can't listen to that song on the album. Of course for example Downfall would sound horrible with Alexi's vocals the way they are today.
I almost can't listen to the album version of Hate Me with how high the treble is.
And I hadn't really thought about the vocal difference on downfall. I like it live, anyway.
Like listening to music coming from a mobile phone. The situation is worst on that song. Quite bad on Mask Of Sanity too.
marfal66
Member
marfal66
Member
children of COB
Deadnight Drinker
^ But yeah, it's not like he completely sucks but there are waaaaaaaaaaaay better players, and his playing is reeeeeeeeeeally unclean.
Well, I always thought EITD was bad sounding, but I love the tone on the others, I like guitars to be that sharp and like the general vibe of it, but then again that's a matter of tastes. My favourite tone is either HCD's or TL&S's, they both fucking rock.
But yeah, it's not like he completely sucks but there are waaaaaaaaaaaay better players, and his playing is reeeeeeeeeeally unclean.Well, I always thought EITD was bad sounding, but I love the tone on the others, I like guitars to be that sharp and like the general vibe of it, but then again that's a matter of tastes. My favourite tone is either HCD's or TL&S's, they both fucking rock.
^
Well, I always thought EITD was bad sounding, but I love the tone on the others, I like guitars to be that sharp and like the general vibe of it, but then again that's a matter of tastes. My favourite tone is either HCD's or TL&S's, they both fucking rock.
I always just thought Herman Li was really uncreative, aside from the lame videogame noises. He's technically really fast and all that, but it all sounds the same. They reuse the same chord progressions and stuff over and over and over.
But yeah, I love the sound of TL&S.
