COB start writing new album

They really need to get rid of downfall from their set list for good. They have even said it was a bit of a strain to play all these years- why not use the last song spot to play something unexpected that they haven't played live yet/rarely play? Dunno if they think to themselves it's "tradition" to play it all the time or if they are just lazy to practice older stuff -_-
 
I'm pretty sure Hatebreeder will be played this year... I've this feeling. The band have started realizing that shit was great. Downfall is a gem, but the band started treating it wrong so it became kinda cheesy. If it was played earlier on the setlist, with no additional "saaaaweeett" and "ye-yeaaaaaaah" gay screams and messing pop-stuff at the intro, it could make its mark. Just treat and respect the shit like real death metal and it'll make good stage material.
 
I'm with Tonsa I think downfall is overrated. The intro is sick don't get me wrong but the rest is just meh, and the vocals on it just annoy me. And yeah what mrkrb64 said, even they're tired of playing it everyday. Playing Hatebreeder live would be awesome but it's been years since they played it
 
Downfall has imho one of the coolest solos, and the melody/chorus ("I see angels burning falling down in ruins...") is pretty cool. It's been played too much though.

(__Joonas__) said:
Tokyo Warhearts isn't the best sound for my taste, there's something that leaves the drums so naked, maybe there's too little echo on guitar or something... it's not as juicy sound world as it could be. The guitar tone isn't best possible for that style of music. Lead melody is great but riffing is like it comes and goes... my memory could be failing me, I should listen to it again... I don't think the guitar tone is perfect on the Hatebreeder album either, it could be a touch more atmospheric. But this is only sometimes, cos other times it's just perfect in its purpose...

I'm very satisfied with the guitar tone in the black metal riff of Halo of Blood, it's atmospheric and it's what I kept hoping for.
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How so? It's about the best fitting tone you could get for them, and makes the songs even better I think. Only thing is Alexander's guitar is a bit too quiet and dry, but the overall guitar tone and album sound is amazing imho.

On HOB, I love the sound of the bits we've gotten in the interviews, hearing Halo Of Blood with that tone is going to be pretty cool.
 
children of COB said:
Because it does for the most part. I myself like more HCD's, but the guitars were doubled there and it can be a bit too harsh. Same with FTR. HB is too thin. SW's tone is terrible, but understandable for the means and time it was recorded in. AYDY's guitars are incredibly weak, BD is muddy beyond belief. RRF has a cool guitar tone, a sort of distinguishable bass, keys back to a good level and I don't know where you get the "terrible sounding drums" part from. Out of place songs? Exactly what does that mean and what qualifies you (or me for that matter) to know where a song places? And it's not like it's straight in your face WTF kind of change between songs (besides maybe WIWI, but I don't know where that song came from).

Well the neoclassical is not coming back, and after 10 years it's kind of tiring to keep getting "neoclasicoolz" arguments when the albums they're making are distinctively different and they've stated over and over that going back's not happening. The thing most old album lovers seem to fail to realize is that every song they have put out there (again with the exception of WIWI) sounds distinctively Bodom. No neoclassical, but easily recognizable as being COB all while going other directions they like more now apparently with the music. And again, the albums they're making are not bad, not by a mile. Some songs are, but the albums in general are not (much maligned AYDY included). Their only actual crime is not being neoclassical, and as I said, it's getting pretty boring after 10 years. And no, it's not that we're after supertechnical Petrucci-like fast crazy stuff, but we do appreciate when the basis of a song is something more than powerchords and then throwing some (amazing, that I won't deny) melodies over them.



Right you are at that, and a lot has to do with the better tone TW has. As with BD, I find myself not listening to SW too much because the tone is bad. Also doesn't help that it's in C# so I never play over it, but that's more of a guitarist problem than a knock on the album itself.
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The main reasons why I think RRF is let down are due to how clicky the drum kicks sound and the fact that the overall sound production is inferior to albums like HB, KTS and HCDR, which is unacceptable considering they have more money and access to better equipment nowadays. i can't really prove this point but I'm just calling it as I hear it. As for out of place sounding songs, NMF, SKO and RTHAB and Ugly all have an epic atmosphere about them that none of the other songs capture. PMS and RRF almost sound goofy compared to them. Then you have WIWI, which like you said definitely sticks out.

I'm not saying I want the neoclassical elements to come back and I'm pretty sure that if they tried to replicate that sound again today it would be nowhere near as well executed as it was in SW and HB. The reason I prefer their earlier stuff is because the songs in it didn't really have a structure. I like being surprised when listening to music. Take "The Nail" for example. That song takes so many different twists and turns and keeps you eager to hear what's coming next. On the other hand, their newer albums, while I still like them, are very predictable. They usually go something like intro, verse, chorus, verse, chorus, solo, chorus. It gets boring after a while especially if the chorus or verse isn't especially outstanding.
 
Initially my dream was to see Bed of Razors live, and now that they already played that I would LOVE to see Black Widow!!
 
baldymort said:
On the other hand, their newer albums, while I still like them, are very predictable. They usually go something like intro, verse, chorus, verse, chorus, solo, chorus. It gets boring after a while especially if the chorus or verse isn't especially outstanding.
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If there is a predictable song pattern in a song that isn't very personal or epic, I have to question if it's spontaneously written from the heart, music of the soul... It's been so predictable for a while, there's the intro, verse, some pre-chorus, chorus, verse, chorus, solos, pre-chorus, chorus. This pattern works when the chorus is really good, like say LDB (apart from bad mixing), but it would be more interesting to have songs that are clearly a process of a unite song "plot", which just happens to naturally settle into a construction such as this. If a song is outstanding I don't care what the construction is, and I doubt altering the song construction intentionally would make a difference if there is no musical epicness going on anyway. Still, even when there is musical creativity going on, the exciting thing is how all the little bits of music gel and carry a cool song together.

I can't really name any song patterns I would love to hear. Can you? Yes I have many ideas, such as a long, dark, atmospheric outro to the opening track of an album, and including more solo interludes to the intros of songs (DNW), but the pattern is not what makes the difference. The details and the thorough excitement level of a song are what make the difference.
 
(__Joonas__) said:
If there is a predictable song pattern in a song that isn't very personal or epic, I have to question if it's spontaneously written from the heart, music of the soul... It's been so predictable for a while, there's the intro, verse, some pre-chorus, chorus, verse, chorus, solos, pre-chorus, chorus. This pattern works when the chorus is really good, like say LDB (apart from bad mixing), but it would be more interesting to have songs that are clearly a process of a unite song "plot", which just happens to naturally settle into a construction such as this. If a song is outstanding I don't care what the construction is, and I doubt altering the song construction intentionally would make a difference if there is no musical epicness going on anyway. Still, even when there is musical creativity going on, the exciting thing is how all the little bits of music gel and carry a cool song together.

I can't really name any song patterns I would love to hear. Can you? Yes I have many ideas, such as a long, dark, atmospheric outro to the opening track of an album, and including more solo interludes to the intros of songs (DNW), but the pattern is not what makes the difference. The details and the thorough excitement level of a song are what make the difference.
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I've always wished that they would use an epic intro for one of their albums. Something similar to this



I know it's a cover from Miami Vice but it's still so epic and mysterious haha.

The original is awesome as well

 
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I love this intro. It was originally meant to be on the album. But it would promise too much...



I liked the chill out techno intro they had later last year, too.
 
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baldymort said:
I'm not saying I want the neoclassical elements to come back and I'm pretty sure that if they tried to replicate that sound again today it would be nowhere near as well executed as it was in SW and HB. The reason I prefer their earlier stuff is because the songs in it didn't really have a structure. I like being surprised when listening to music. Take "The Nail" for example. That song takes so many different twists and turns and keeps you eager to hear what's coming next. On the other hand, their newer albums, while I still like them, are very predictable. They usually go something like intro, verse, chorus, verse, chorus, solo, chorus. It gets boring after a while especially if the chorus or verse isn't especially outstanding.
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Exactly. When people (Alexi included) say Bodom's song writing has improved immeasurably I just sit there wondering what the fuck they're on about while being consistently bored off my face by the material of these past few albums.
The first few seconds of Halo of Blood give me hope they've brought back the unselfconscious cheese and energy of SW/Hatebreeder and hopefully it's integrated into the whole album but the chorus in Halo of Blood is dead and reminds me much more of RRF and BD than any of their older stuff.

(__Joonas__) said:
I love this intro. It was originally meant to be on the album. But it would promise too much...

http://www.youtube.com/watch?v=uOrynfhPrKA
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That sounds great. Do we know if it's still on the album or..?
 
happilemon said:
the chorus in Halo of Blood is dead and reminds me much more of RRF and BD than any of their older stuff
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I dig it, it's heavy as hell with powerful vocals from Alexi. You can do technically this kind of stuff quite similar but small differences ( = creativity) determine whether it's epic or crap. Think Black Widow verse.
 
I kinda hope the single isn't the track we've heard samples of so far. It can't be all about one song, I hope there are many interesting songs.
 
No, SKO... That's what I'm afraid of, that they only have a couple nice songs like on RRF and they only give the same samples of those songs to these trailers and ads. However, something has convinced me this time there will be more than just one and a half songs you can listen to...
 
I hope it will be like FTR, I love the whole album (keep your criticism for yourselves, thx), it wasn't as you said, like in RRF
 
It won't be easy... will Waste of Skin be another Follow the Reaper? Will Scream for Silence be another Children of Decadence? Transference another Everytime I Die? And so on. Every song on FTR is epic. It's unrealistic to expect something similar and as good. But if Halo of Blood has its own style, with some epicness and dark atmosphere, and is half the album FTR is, that would be beyond magnificent.
 
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