Children of Bodom
Blooddrunk

THE REVIEW

Here is one of those many bands that for the past ten years have accustomed us to albums that are each time over-the-top, rich in brilliant, elusive, rare insights, difficult to categorize, splendid, and completely aware of how to find the right intersection between the fury of death and the impetuous melodies of power, but "Blooddrunk," however, even if it is not entirely to be discarded, feels much like a downfall, one of those dry, heavy, redundant ones destined to hurt a lot, especially those who have always followed them.

The latest work has recently been the subject of heavy criticism but at the same time has garnered endless success for Alexi's band, who, according to the latest interviews he gave,  could never have expected and greatly appreciated the absolute support from their countless fans. Let's not forget that precisely with "Blooddrunk," our dear Alexi did not expose any reflections to his advantage to those interviewing him but limited himself to saying that the legendary melodic death metal once again worked on a "freaking and any" metal album. And that's where the only negative factor of the eponymous band lies. Although the entire band once again showed itself to possess an unpredictable technique while at the same time being precise to the limit of human potential, they find themselves in a situation that doesn't put them at ease in the places they will perform. None of the critics have ever understood the situation they are going through, but it is certain that the leader of COB, despite the technique remaining the same as in the past if not improved and becoming much sharper from every perspective, has shown a sort of "apathy" that the fans, first and foremost, could not explain to themselves.

With "Blooddrunk," we are facing a work that, although lacking an intro that would have been almost mandatory for an album of this caliber, still demonstrates a definite step back for the entire band that has somehow lost all that compositional freshness and all that essential energy that they have always continued to rely on. The question mark remains the same! Why have COB changed their attitude toward all those who have always loved them? Why should a band that, along with many others, was important to demonstrate how to "rock" at a concert find itself reduced to this miserable condition? What are the concerns that torment the mind of one of the most famous and  loved leaders circulating in the metal world?

Let's say first of all that the "new" COB is a band that looks straight to the point, that has decided for once to leave frills and trappings in the basement, focusing solely on a violent, direct, even too essential sound. No intro, as we said earlier, no resounding trumpet blast introduces "Blooddrunk": one, two, three, four, and the first track starts fired like a bullet, far too linear to have been conceived by the same mind of a band that only a few years ago had revolutionized the world of metal with great masterpieces like "Something Wild" or "Hatebreeder." This time the primary goal set by the entire band was to infuse each song with a good dose of rage rather than finding a way to compose as they did with memorable tracks from the past.

Each song starts furious and full of energy, Wirman with his keyboards playing at creating atmospheres now dark, now darkly disturbing, ending up being, in the end, the only one trying to give a true touch of melody to the compositions. Laiho rages at maximum with his guitar, churning out solos one after another and trying to succeed in the attempt to be as "cool" as possible. Referring back to the discussion I started at the beginning and that might have seemed pointless to you, it is precisely from there that the general picture that emerges when listening to "Blooddrunk" is evident. Despite being able to extract songs of the highest value and level from this latest work, like "Lobodomy" or "Roadkill Morning," especially when they perform live, the entire band with this latest work has made a slip that we only hope is temporary.

Let's say that if this CD had been released by any new Finnish band, it most likely would have been received by the critics with applause and pats on the back, but since the name of a band belonging to one of the best realities that appeared on the metal scene in the last decade is on the cover, there is nothing left to do but sketch out and hope for their quick recovery. This is the price to pay for a band that has always treated us in the best way. Work that I would still consider barely sufficient.