Children Of Bodom
Blooddrunk

THE REVIEW

The Children Of Bodom are back. After some criticism the group faced in previous years, this "Blooddrunk" ultimately turns out to be a good album. It's certainly not the new "Hatebreeder"; the Children can no longer produce anything of that sort; that album from 1999 was not only an excellent record but also a great innovation for Death/Power. The fact that they cannot replicate such a work does not mean they cannot create high-level works.

The formula remains the same, Melodic Death Metal with Power influences (or vice versa, the debates about their genre affiliation are still open). Nothing too new, except for the technical/instrumental progress of the band and a pleasant increase in power compared to the latest releases. The duo Laiho/Wirman delivers really interesting and engaging guitar and keyboard solos, with good taste both in terms of technique and musicality. The notes intertwine pleasantly between fast scales and more melodic parts, and perhaps more in this album than in the others, the melodies seem thoughtfully constructed, fitting together very well and giving a pinch of harmony that perhaps was missing in the sound of Children Of Bodom. Alexi Laiho's singing is unmistakable and comes across as quite expressive and energetic, although in several cases his voice is accompanied by the chorus of the other members. The whole is supported by good work from the rest of the band although, however, the other members mainly dedicate themselves to a rhythmic part that rarely goes outside the predefined spaces.

The songs settle on a good level and are all, in my opinion, sufficient and valid, "Blooddrunk" has a strong hold on the listener thanks to an easily digestible refrain (in my opinion, decidedly similar to that of "Walk" by Pantera), "Smile Pretty For The Devil" is, in my opinion, the best track of the album where there is a really catchy and at the same time compelling intertwined guitar and keyboard solo, but there are several tracks that are enjoyable to listen to.

In conclusion, "Blooddrunk" will certainly not be a masterpiece, but it is not a record to be discarded either. It turns out to be a work made more with the head than the heart, and as for emotion, the album loses some, gaining, instead, points for the ease of listening and absorption of the music. It is a simple, straightforward record, to be listened to casually, but one surely cannot deny it a passing grade and even a little more, 3.5 the real score.