Review Summary: War is in my heart, death is by my side
Metal is a ridiculous genre and Children of Bodom are a ridiculous band. Very little about them begs to be taken seriously, from their power metal histrionics to their less than subtle neoclassical nods to their endless kitsch homage to a famous lakeside homicide. Theirs is an easy brand to write off, which is why their masterpiece record
Hatebreeder is all the more impressive for how well it holds together. Children of Bodom have always been a high-octane vehicle for energetic melodies, and while their early work is easily their most enjoyable, it often suffers from loose songwriting and indulgent musicianship.
Hatebreeder is certainly complicit here, but it grounds itself in just enough substance that its meandering sections comes off as innocuous and fun; a riff montage like “Towards Dead End’ might seem a mess on many albums, but sandwiched between cuts as lean as “Bed of Razors” and “Black Widow”, it feels like a well-earned ramble.
In a cute twist of fate, there are two title-tracks here: one for the band and one for the album. Both are huge highlights, grounding themselves in memorable verse/chorus tradeoffs before the band flexes their chops and takes them into more complex territory, both structurally and instrumentally; the many, many bridges of “Children of Bodom” remain iconic, while “Hatebreeder”’s final exchange of pyrotechnic solos is a strong contender for the band’s finest moment.
For all its bemusing levels of excess,
Hatebreeder is a remarkably concise package. None of its twists or turns stick around long enough to detract from its fleet-footed momentum; it’s hard to tell whether the band display hyperactive overeagerness or considered self-awareness in their refusal to allow any moment to overstays its welcome, but it makes for a concentrated and enduring experience either way.
Hatebreeder never demands its listener to take it in earnest, yet its rewarding qualities are all the more gratifying as a result.
