'Everytime I Die' is a huge departure from the Bodom formula, beginning in a dark, Sabbathy swirl of dreariness, then varying between a synth & drum driven ballad (although the razored larynx prevent it from become touching, let alone sappy) and 3rd gear (of five) CoB, with plenty of time for exchange of solos, between the subdued Laiho and Warman. Both 'Children Of Decadence' and 'Bodom After Midnight' feature caustic vocal performance by Laiho, dripping with vitriol, as the band gallops at a brisk jog, not a 100 m dash. Rarely is that the case on Follow The Reaper. In the past, Bodom raced through a song, from beginning to end. Less is more, with each instrument clearly audible in Peter Tagtgren's Abyss mix.
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Like a methodical serial killer perfecting his crime with each victim, the savage blood-spilt-everywhere results of the first two studio efforts has been rethought, to accomplish the same deadly result, using precise slashes. The title cut introduces the disc, with many of the same facets as its predecessors, although a less ferocious killer. Those attributes are not to be read as disappointment, but mere facts.The 38 minutes of music is unmistakenly CoB, especially with Laiho's harsh, often indecipherable lyrics, although he HAS taken strides to make certain passages more understood.Janne Warman's keyboards still pepper the dual guitar attack, albeit a newly refined approach. By composing the majorityof these nine tracks at a slower pace, Alexi Laiho succeeded in moving his band of Finnish mauraders beyond mere carbon copies of Something Wild and Hatebreeder. Well here it is!Hotly anticipated, judging by the activity surrounding the least little album tidbit on Initial overall observations? The material is not as chaotic as the first two platters (I'd say 'mature,' but sadly, that's all some 'fans' need to hear), adding bass at the expense of the previously tin-sounding treble, and less classically orchestrated (apart from the opening to 'Mask Of Sanity').
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