Try some tempo variations with the new album, different instruments doing different tempo stuff. Such as a slow guitar melody creating atmosphere behind fast drums and keys. Any variations like this. It opens opportunities for new ideas and enriches the songs. Do this without making it feel like the song's backbone and groove cuts.
The official and most atmospheric Children of Joonas thread
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An idea:
Finish a song with an atmospheric interlude melody (lead guitar + keyboard unison) as the last section (without vocals). Use the same interlude melody once in the middle of the song before that, right after solos end. For verses of this song use an ultra fast guitar tremolo from 0-5 frets over vocals (with no keyboard).
Can you imagine what would the interlude have to sound like to feel natural as ending of a song? Thinking outside of the box forces your mind to be creative.
Finish a song with an atmospheric interlude melody (lead guitar + keyboard unison) as the last section (without vocals). Use the same interlude melody once in the middle of the song before that, right after solos end. For verses of this song use an ultra fast guitar tremolo from 0-5 frets over vocals (with no keyboard).
Can you imagine what would the interlude have to sound like to feel natural as ending of a song? Thinking outside of the box forces your mind to be creative.
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Here's a cool idea and I'm giving it away for Bodom:
For a song that's very heavy with a apocalyptic, near-melodyless barren soundworld, in the ending section use some grand piano with a choir tied to it, to describe the sorrow of an apocalyptic tragedy, with a melody such as this (from the 2nd highest octave on keyboard): C B C ... D ... B A B (these being the four notes right next to each other).
For a song that's very heavy with a apocalyptic, near-melodyless barren soundworld, in the ending section use some grand piano with a choir tied to it, to describe the sorrow of an apocalyptic tragedy, with a melody such as this (from the 2nd highest octave on keyboard): C B C ... D ... B A B (these being the four notes right next to each other).
Just saw Mayhem and Dragged Into Sunlight. Skipped the first band, because three gigs of simulated panic attack is too much for my tolerance span, it sort of goes beyond the state of cherish and turns into stressful haze. Amazing gigs.
CharIie
Moss
That might be an unpopular opinion to have, but RRF is really starting to grow on me. The more I listen to it, so more I realise this album was quite "coherent". That is, from the first song to the last, CoB managed to keep an atmosphere going. And even though the songs are quite different from one another and from the other albums, I really start to think this album is actually REALLY good. Which means that the only album I still have a problem with is Blooddrunk. I guess I'll give it a few listenings in a raw this week-end and see if I can get the same result as with RRF.
To me it's the most superficial album, with mechanical beating going on, which makes it the best for playing while you're race driving on playstation, because it's possible to focus on it while doing something else, but while the song ideas were still there I think the lack of depth in atmosphere makes it kinda musical fast food, which is why I can't have it among the best for sure. They deserve a better soundworld. The American sound is for bands like Lamb of God, which is like for chaps who've never heard anything heavy before and can't see beyond that.
Here's an epic minute of guitar, 51:00 - 52:00. It's been 24 years since I first played this game... I remember two years ago I was running up and down stairs to a hill in hot sun, the last attempt I could squeeze extra bits of energy to get up there only because this amazing song was playing in my earphones...
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Hatebreeder01
Member
Just because you said that I had to listen to ''All For Nothing'' which I've always thought of as an epic song from CoB, although it's nothing like the rest of their music. I didn't like IWC at all and I probably dislike the album the most of their releases. That said, I love this song, so much.
As a sidenote, can you believe it's been 10 years since Blooddrunk?!?!
As a sidenote, can you believe it's been 10 years since Blooddrunk?!?!
31:10 - 31:40 is of course one of the most eargasmic guitar melodies ever, on my previous post.
Well, it does feel kinda distant. I hope they'll do something as great as that album. It had intense feeling, despite how you can sense the alcohol stuff thru it. There was passion and anger in it. I have no fucking clue what they'll do next. The Knuckleduster remake is a great idea, I'd be very disappointed if they decided no to do it.
Well, it does feel kinda distant. I hope they'll do something as great as that album. It had intense feeling, despite how you can sense the alcohol stuff thru it. There was passion and anger in it. I have no fucking clue what they'll do next. The Knuckleduster remake is a great idea, I'd be very disappointed if they decided no to do it.
I think for the next album Bodom could do stuff with drums a bit more. Some rapid drum bursts laced with keyboards, separated by haunting guitars...
Inceptionist
It's Not My Funeral
- Jan 19, 2013
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Sounds like symphonic black metal to me, definitely not something bodom could pull off. Honestly what’s missing in the newer songs is the punk and power metal stuff. FtR has a ton of punk/80’s/power metal riffs, IWC is missing all of these elements, other than that one melody in suicide bomber. They need that youthful sound back instead of going down the experienced thrash route that’s been done to death already
No symphonic, no thrash, those two are big no... I guess what I'm missing is the mood in riffs and the creative beats that go with them, after that of course some unison solo magic wouldn't hurt... and up the speed a notch or two.
I just saw Pain live. I stalked by the tour bus alone after gig for a while before giving up and leaving for a ride home... I instantly regretted not staying, but it's a freezing blizzard here and midnight... I was gonna take a photo with Peter and exchange a couple nice words. Should've just stayed. You just don't wanna stand there freezing like a lunatic, not knowing if they're coming out within an hour.
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Bodom may still be missing a song for the new album, so I just designed one for them. This song is about being passed out and dumped into a forest at night! So there is an emotion you can relate to, and a symbolic form of art description.
INTRO: Very slow start with carefully selected notes on guitar to create a feeling of certain doom.
BRIDGE: Then it blasts into a dark guitar melody in medium tempo, over a powerful, fast beat.
VERSE 1: Fast tempo continues. Fast low pitch riff doubled with piano. Kind of "stalking" atmosphere. First verse is only one sentence, divided to two lines.
BRIDGE: Same bridge again.
SOLO: Haunting keyboard solo that seems to explore the darkness. Intro as background. (A guitar solo would not fit the vibe of this song.)
BRIDGE: The solo blends naturally into the bridge.
PRE-CHORUS: Just a fierce version of the intro, making the drums into bursts and the guitar notes into chords. Perilous vibe.
CHORUS: Fast chorus that utilizes tons of orchestral double hits (to describe the full moon night lost in a forest) between malevolence-spitting fast vocals.
VERSE 2: Same thing as first verse.
PRE-CHORUS: This time spiced with choir keyboards.
CHORUS: Same as first chorus.
OUTRO: The bridge melody but with the riff starting fast and ending slow, to settle the intensity down to a doom feeling.
INTRO: Very slow start with carefully selected notes on guitar to create a feeling of certain doom.
BRIDGE: Then it blasts into a dark guitar melody in medium tempo, over a powerful, fast beat.
VERSE 1: Fast tempo continues. Fast low pitch riff doubled with piano. Kind of "stalking" atmosphere. First verse is only one sentence, divided to two lines.
BRIDGE: Same bridge again.
SOLO: Haunting keyboard solo that seems to explore the darkness. Intro as background. (A guitar solo would not fit the vibe of this song.)
BRIDGE: The solo blends naturally into the bridge.
PRE-CHORUS: Just a fierce version of the intro, making the drums into bursts and the guitar notes into chords. Perilous vibe.
CHORUS: Fast chorus that utilizes tons of orchestral double hits (to describe the full moon night lost in a forest) between malevolence-spitting fast vocals.
VERSE 2: Same thing as first verse.
PRE-CHORUS: This time spiced with choir keyboards.
CHORUS: Same as first chorus.
OUTRO: The bridge melody but with the riff starting fast and ending slow, to settle the intensity down to a doom feeling.
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I think that Bodom should go back to weird song structures, just like on first two albums, but now with more unique and distinctive melodies that don't sound like they were stolen from other known songs. I also expect more mature lyrics and better production, of course, and I also hope for faster tempo than on the last album, because c'mon, it's Bodom! There also must be new keyboard sounds, new drum beats, it has to sound fresh and different as well. And bring back unison melodic parts, it doesn't have to be a solo necesarilly, but what makes Bodom a different band is exactly this - melodies that are an instant hook-up combined with dark and heavy riffage and mystical keyboard soundworld.
Yeah it's definitely the unison solos with dark riffs and catchy melodies that made Bodom. Tuning has to be D or C# (C at lowest... B is too loose), no drop because that encourages a style that degenerates them. I'd rather have simple power chords in a dark fashion backing violent melodies, than have the nature of the song geared towards the low chug riffing. In the end technique doesn't matter, the feeling in the songs does. But dark riffing and unison stuff should come back.
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I present to you the most atmospheric melancholic black metal tremolo in a while: 2:11 ->
It's great in the intro when the piano first gives a backbone to the melody, then hopefully you've turned up your volume loud enough to get that slight shock. It's slightly softer in the repeat which is why I timed that.
Here's another I love, 6:36 ->
It has this feeling of camping by a fire in the dark woods, plotting how to take over the world now that a cataclysm has devastated everything, or something to the like. There's some esoteric dimension to these dark melodies that has made me a huge sucker to this style of music. It's a whole different musical entity to the melodic death metal where Hypocrisy's riffs and Bodom's melodies, malice-spitting vocals and such give me a huge dopamine peak.
It's great in the intro when the piano first gives a backbone to the melody, then hopefully you've turned up your volume loud enough to get that slight shock. It's slightly softer in the repeat which is why I timed that.
Here's another I love, 6:36 ->
It has this feeling of camping by a fire in the dark woods, plotting how to take over the world now that a cataclysm has devastated everything, or something to the like. There's some esoteric dimension to these dark melodies that has made me a huge sucker to this style of music. It's a whole different musical entity to the melodic death metal where Hypocrisy's riffs and Bodom's melodies, malice-spitting vocals and such give me a huge dopamine peak.
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Because of natural evolution of taste and the shortage of good new death metal and doom metal, my taste in metal has refined in this sort of black metal. There exists more good black metal these days than melodic death or atmospheric doom. Recently I've grown very much into this kind of drumming, just to point out. It's really a huge thing, how death metal is dying, doom metal is non-existent, but black metal is flourishing. That's how it seems to me, unless I'm missing something. Another genre that's flourishing in numbers is stoner doom.
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