Review: Children Of Bodom, Roulette, Dark Seal, Good Fall (Alex, Rich & Sean)

Children Of Bodom: Hexed (Nuclear Blast) [Alex]

Children of Bodom are different. Influenced by the guttural vocals and doom-obsessed lyricism of black metal, they also place tons of emphasis on hooks, contributing a melodic core to their darkened sound. Albums such as Hate Crew Deathroll, Hatebreeder and Follow The Reaper undeniably deserve to be seen as classics of whichever subgenre of metal they belong in. Whatsmore, they continue to hone their unique qualities across Hexed, an album overflowing with sinister, yet also exalted metal. Opening with This Road, we begin on a charging gallop, as a ferociously distorted guitar riff sets in and keyboard touches contribute to the dusky tone. In quintessentially Sabbath-esque style, we are granted to an exciting tempo change, before synths and lead guitars are seen to engage in an epic stint of soloing, both rebounding off one another as if caught in an enthralling battle!

Whereas the first song is incredibly dark, Under Grass And Clover are upbeat in tone, glistening melodic motifs creating an atmosphere which is joyously Eighties inspired. That is, until you read the lyrics, which read like albeit less graceful tale from Lovecraft’s Necronomicon, as they recount the thoughts of a madman, desperately trying to recount the vile sin they have committed: "Fuck me, there's blood on my hands/That's nothing new but now they're shaking too/Everything's soaked in sweat/Here comes the ‘forgive and forget’/Who should I forgive? Forget that plan/I really don't give a damn". Ultimately, this goes some way towards proving the ease with which Children Of Bodom are able to contrast macabre imagery, with positive and life-affirming composition or vice-versa. Admittedly, they don’t perform it to the same extent as Ghost, for whom irony is a defining feature, yet it is definitely a technique on show, accentuating the creativity of these musicians. Perhaps some of the greatest songs across the entire album are the visceral anthems of defiance, like Glass House. ‘’Distress and nothing less you breed/Confess and you're blessed/set free from sin, well ain't that something?/Absolution leaves me nothing’’ Alexi Laiho screams here, evidently incensed by fundamentalists and extremists. 

Platitudes and Barren Words is another moment of pure, unbridled anger where our frontman condemns apathy and meaningless sloganeering as a means for solving the world's problems, all against a set of bright, lively guitar melodies and thrashing rhythms. On a technical note, Hexed is one of the most commanding moments across the entire experience, the hurtling tempo, and unexpected juxtapositions in tone, making for rousing listening. Following this, Relapse and Say Never Look Back, make a return to the classic influenced, and tuneful instrumentation analyzed earlier. Admittedly, though it seems somewhat cliché and slightly ridiculous to see incredibly aggressive vocals screamed over bright and glimmering keyboards, there is enough crunch in the guitars, and stomp in the rhythm, to maintain a ferocious presence from start to finish! 

Overall, Hexed is far from the greatest Children Of Bodom album. As I have said time and again in my reviews, I appreciate greatly when albums go above and beyond to impress, even if that involves verging on the absurd or exaggerated. While this doesn’t quite meet my expectations, it has more than enough charm, mixed with aggression, to justify these musicians place as colossuses of modern metal. 7/10

Roulette: Now (Black Lodge Records) [Rich]

After a short period of inactivity long running Swedish AOR band Roulette are back with new album Now. AOR isn’t the most complex or forward thinking of genres and if you have heard any other AOR bands you pretty much know what you are getting. Now is no exception to this rule. When it is done right and done well AOR can be very enjoyable and Now is a great example of AOR done right and well. All the typical characteristics of the genre are in play but wrapped up in a bunch of really well crafted and enjoyable songs. The songs are all driven by strong melodies, an uplifting and positive vibe, great guitar work and the fantastic vocals of Thomas Lundgren. 

The ten songs on Now have enough variation in them to keep things interesting throughout the albums duration - some songs veer in a more hard rock direction, some songs are softer and some songs get a nice balance between the two. Roulette are one of a massive legion of AOR bands and whilst they do nothing to distinguish themselves from any other band in the genre they just do it well and with conviction. Probably not recommended for those with a heavier taste but if you are in the mood for something light and uplifting then you can do no wrong with this album. 7/10

Dark Seal: Země Našich Předků (Murderous Music Production) [Sean]

Something ancient has dragged itself from the Czech Republic, through forest and fire with all it’s heathen fury ready to unleash. I speak of Dark Seal, Brno based bards whom worship at the blackened altar of ancient ones. What’s that? This lengthy preamble doesn’t hint of the power that dwells within? FINE! Pagan Black Metal! Yah happy now!? *hastily regains composure* Indeed, there is no other way to describe Dark Seal’s olden onslaught. Having already sharpened their blades across 2 releases, Dark Seal return with 3rd album, Země Našich Předků. Steeped in ancient beliefs and an anger towards all thing monotheistic, the finished product is a skilled demonstration of druidic darkness. Truly, I’m only but a few minutes in and am already in the thrall of these Moravian marauders. I guess all that’s left is to fully succumb….

When A Voda quickly establishes the crux of what Dark Seal are all about, scathing blackened melodies accompanied by throat tearing howls. The strong rhythm section propels their assault onwards, a choir bringing up the rear to complete their arsenal. The din of war occasionally dissipates, with clean strumming allowing a modicum of breathing space before fading out to the sound a thunderstorm. Země Našich Předků dispenses with the speed in favour of a slower tempo and a heavier atmosphere, the returning choir increasing its power tenfold. Sluence continues this, though the mournful air has been replaced by something altogether more sinister. The riffs become more hookier in nature, with the pace alternating to accommodate a clean chorus. Exodus Niterne Slabych begins in an almost trance like state, it’s cascading guitars falling on each other with hypnotic grace. Zrade Nasich Oren introduces a change of key, melancholy and muscle melded seamlessly with some syncopated blast beats for good measure. The most melodic (and longest) track thus far, lead melodies leading the charge, occasionally harmonising with each other to great effect. Duse is a somber number, almost introspective, contrasting nicely with the battle hymn that is Lughnasad. Reminds this author of old Falkenbach, which can only be a good thing. Gelert’s grave, my arm hairs are ‘a standing! Alban Arthuan closes Země Našich Předků, it’s deliberate march eventually fading into nothingness. Goosebumps receding, I exhale, taking pleasure in knowledge that my time with Dark Seal was well spent. Best give the verdict then, hadn’t I?

When something is done with this degree of sincerity and zeal, it’s difficult to find fault with Země Našich Předků. The quality of the songs and the air they conjure is constant throughout, arranged by those with a keen ear and a story to tell. Would the inclusion of some shorter, more immediate songs be of any benefit? Perhaps, but dwelling on what “could” be is futile in the face of what Země Našich Předků IS; a damn good album. The performance is tight, the riffs are strong and it never wanes in atmosphere or ferocity. Wrapped in a suitably crisp production, Dark Seal have produced a fine piece of work, certain to make necks move and the spirit soar. If you yearn for the old ways and wish to see all Rome (or Christendom, for that matter) burn in heathen fire, Země Našich Předků is a worthy clarion call. 8/10

Good Fall: Editors Letter (Self Released) [Alex]

Performing a style of alternative which is experimental, with multiple dabbles in ambiance and atmospherics, Good Fall remind me comfortably of acts like Multisensory Aesthetic experience, or Jellyfish. Now that I have successfully alienated everyone who isn't familiar with the weirder side of Indy, which happened alongside the heyday of the genre in the early 2000s, how about I recommend Y'all an album which tries to reinvent that style for the modern day. Editors Letter is accessible enough to be loved by alt-rock fanatics while maintaining an air of uniqueness about it which sets it apart from more widespread titles.

A light twinkling of piano opens Iababo, before swelling of guitars come in, perfectly complimenting the light and shade aesthetic which Good Fall embrace throughout their debut album. Schematics feels almost sensual and swaying, in tone, before a huge middle section takes hold, later giving way to some precisely plucked guitar arpeggios. These two tracks alone paint a vivid and detailed musical experience. One perfectly summed up by the colorful wave on the album artwork. The exploration of different sonic palates doesn't cease though, as Relevance feels decidedly morose and anxious in tone and Song Three (the fourth track on the album) rejoices in unpredictable complexity. 

Only getting more fascinating from there on, Something Dark is precisely as the title suggests, incorporating discordant noises and outlandish effects, to create an atmosphere which you don’t usually expect to hear brought to life a record bearing the label ‘alternative’! Knows is formed of gracefully executed ascending and descending guitar and key patterns, while Windows plays around with distorted frequencies, in a way which is disquieting yet incredibly effective. The final three songs bring the piece to a gorgeous end, as Physics sums up the chaotic and aggressive side of these musicians’ musical personalities, Light Something flirts with jazzy or symphonic textures, while One More Thing again demonstrates their excellent use of dynamics and contrast.

Perhaps part of the reason I am so excited by this record is that I simply did not expect to hear one like it, coming from a new act. Yes, there has been an influx of bands bringing together emo and prog recently, yet they rarely capture the textured and layered nature which Good Fall brings to the table. I look forward to hearing what they present in the future 8/10