Children Of Bodom 20 Years Down & Dirty
Carach Angren, Lost Society, Uncured
1003 Arch Street
Philadelphia, PA, 19107
Doors 7:00 PM / Show 8:00 PM
This event is all ages
Children Of Bodom 20 Years Down & Dirty
Children of Bodom – I Worship Chaos
Alexi Laiho – lead vocals, guitars
Jaska Raatikainen – drums, backing vocals
Henkka Seppälä – bass guitar, backing vocals
Janne Wirman – keyboards
Produced by Mikko Karmila and Children of Bodom
1. “I Hurt”
2. “My Bodom (I Am the Only One)”
5. “Prayer for the Afflicted”
6. “I Worship Chaos”
7. “Hold Your Tongue”
8. “Suicide Bomber”
9. “All for Nothing”
Fully 20 years into the tough, heroic grind that represents the lifeblood of extreme musicians, Finland metal scientists Children of Bodom have certainly won over crowds globally through a crafted alloy that is theirs alone. But the building of their esteemed career has also been aided an abetted by the simple math of all that work, the intense touring, that inevitable return visit to your town that has made the band’ s shows engaging, personable and energetic thrash parties indelibly stamped on the circuit boards of headbangers worldwide. The party continues, with the release of the band’ s ninth album, I Worship Chaos, which finds guitar hero for a new generation Alexi Lahio recording for the first time in a four-piece configuration (along with Janne, Jaska and Henkka), given the sudden and recent departure of long-time co-guitarist Roope Latvala from the ranks. Which has lent the band a forced but fortuitous sense of focus, says Alexi: “It was hard because we’ ve never been the kind of a band who changes members every other week. So all of a sudden you are one family member short. I was obviously on double duty, because I had to record all the guitars. But I didn’ t even care, man; we just went and got everything done. And I think us parting ways with him has made us strive and pull together as a group, which was a beautiful thing, really. Because it felt like we were teenagers again making our first album. Plus it made the guitars tighter. It’ s not like I’ m
talking shit about Roope or anything, but it’ s just a scientific fact that if there’ s one guy playing everything, it tends to get tighter. And I’ m definitely happy with the result.”If there’ s an increased level of heaviness rippling and rifling through I Worship Chaos, it might be because the album is constructed with guitars that are tuned a half step lower. Hence tracks like blackened thrashers “Horns” and “Suicide Bomber,” as well as the rhythmically sophisticated “My Bodom (I Am the Only One)” reverberate with bottom end from both bass and guitar, even if keyboards and the band’ s modern approach to drum mix fight to uphold Children of Bodom’ s celebrated sense of cut, clarity and agility. All told, says Alexi, “The mission will always be to get as heavy as possible, but also try to improve as musicians and as songwriters. Honestly, this is the strongest COB album in a long, long fucking time. We just wanted to change things up a bit. I think the album has a darker vibe than the previous ones, especially Halo of Blood—it is definitely heavier, as well as darker as far as the melodies go. It’ s got a lot of sadness and hurt and anger in it. Which sounds like, hey, what else is new? But it really is different (laughs).”The Skyclad-meets-Dark Tranquillity of “Morrigan,” with its expert synthesis between keyboards and mid-paced riff, with its thump and near swing feel, is sure to stand out as one of the magic stadium rock moments of the entire Children of Bodom catalogue. “That one stood out from the line-up from the get-go,” explains Alexi. “It’ s like everybody—the band, the record company and the management—were like, that’ s gotta be the single. And even all my friends I ran it past said, dude, that’ s so fucking catchy, you gotta make a single out of that. Lyrically, Morrigan is one of the goddesses of the underworld, and it’ s sang basically from a mortal man’ s point of view, where he expresses obsessive love and lust for her. That idea inspired me to write that song, but it’ s not necessarily about a certain goddess. It could be anybody, and so it’ s a song that is probably very easy for people to relate to.”Even more elegantly shocking is “All for Nothing,” on which Alexei opens with a frightening whisper-type vocal over a track that is often Maiden-esque and textural, the bonus being a searing guitar solo which demonstrates why Laiho has quietly become—weirdly and specifically—an elder statesman of razor-wired guitar to a very young next generation of Bodomites. Says Alexi, “All For Nothing” is very different from anything that we have done before—you would not know that that’ s Children of Bodom. That vocal was a challenge to record, but that’ s how it should be. You shouldn’ t be too comfortable with what you do; you’ ve got to try new things.”But there’ s signature white-knuckle Bodom all over the record as well, songs that slam but then are sweetened by synth legend Janne Warman’ s array of slicing keyboard sounds. “Sure, well, the opening track called ‘ I Hurt’ is fast and intense,” describes Laiho, “with a lot of things going now. At first you’ re thinking it’ s basically pure chaos, but then there’ s a chorus that is just so catchy on every level, that I think it’ s the best opening track we’ ve had in a long time. It’ s one of those that doesn’ t fly by you—that chorus will stick with you for sure. The title track, ‘ I Worship Chaos’ is another fast one
but it’ s very simple—you know, main riff, verse/chorus, that sort of thing—but it’ s got lyrics that are quite autobiographical and true, basically around the idea that I’ m not good with quiet, I’ m not good with dead silence—that stresses the shit out of me. I need a lot of noise and chaos around me constantly, on every level, to function. I’ m pretty proud of those lyrics and I poured a lot of effort into them.”Underscoring the sense of contrast to the record—in fact, its perfectly sequenced ebb and flow—is “Hold Your Tongue,” which Alexi describes as “a straight up rock ‘ n’ roll song, which lyrically is me basically being pissed at people who complain too much when they don’ t have anything to complain about.”Add those examples up, and one can divine the componentry of the Children of Bodom sound, which Alexi articulates as such: “Well, obviously the guitars with those keyboards is a different dimension from almost all the extreme bands, when you think about it. The keyboard thing is obvious, I would say. But really, the guitars... it’ s extreme metal—basically death and black metal and thrash—but there are also sleazy little ‘ 80s riffs in there. And same thing with the keyboards, really; we do a lot of stuff with keyboards that could be in a friggin’ disco song. But we have a way of making it sound dark and heavy as well. We grew up listening to everything, and even though we were death metal kids and black metal kids when we were teenagers, there was still the whole ‘ 80s thing with W.A.S.P. and everything. That’ s always stuck with me and so I automatically kind of incorporated that into our whole death metal sound.”And is there something intrinsically Finnish about Children of Bodom? “Personally I don’ t think there’ s a Finnish sound,” reflects Laiho. “People talk about the old school black metal thing from Norway or the Gothenburg sound, which both exist on some level, but in Finland there are so many different bands that sound nothing like each other. If anything, I think the Finnish thing in Children of Bodom would be an attitude, where it’ s perhaps angry and blunt, but with a dose of dark humor.”The band’ s sense of not taking themselves too seriously might be divined from their choice of covers to be used for I Worship Chaos bonus material. Sure the band celebrate their heritage (and the music the guys loved as teenagers) through Amorphis track “Black Winter Day.” But then there’ s an exploration of Alexi’ s love for deep tracks punk through a cover of The Plasmatics’ “Mistress of Taboo” as well as a metal send-up of Kenny Loggins’ soundtrack classic, “Danger Zone.”“Well, Plasmatics was just fun,” laughs Alexi. “I’ d been listening to Plasmatics a lot, for some reason, just before we started recording. I can’ t recall any bands like us that have covered Plasmatics, so I thought that would be cool. I have always been a huge W.A.S.P. fan—the first two W.A.S.P. records, I fucking love them. And to me, The Plasmatics sound like W.A.S.P. before W.A.S.P., you know? I’ m sure that Blackie Lawless was listening to a lot of Wendy O. Williams and Plasmatics back in the day. As for Kenny Loggins, well, we just love to do goofy silly covers, so that was just one of those things.
Everyone loves Top Gun, right? So there you go. I’ m not even sure it turned out that well, but you’ ll get a laugh out of it, and that’ s all that matters (laughs).”
"The Dutch masters of horror are back with their most flamboyant album so far. On 'Dance and Laugh amongst the Rotten', CARACH ANGREN are painting musical pictures that easily combine the grandiose depth of a Rembrandt with Van Gogh's maelstrom of whirling colours and the utter madness of Bosch. This lusciously seductive danse macabre will drag you in and never let go. CARACH ANGREN have employed all the sonic colours on their palette to dazzling effect. Their trademark whipping guitars are weaving harsh melodies and sinister soundscapes, which are beautifully contrasted by opulent keyboards and majestic orchestrations. That Till Lindemann (RAMMSTEIN) and Peter Tägtgren (PAIN) have called upon the composition talent of Clemens "Ardek" Wijers is a telling sign of his outstanding mastery of the craft. Another signatory counterpoint is provided by Seregor's fierce rasping and shrieking vocals. Adding to the impact, Namtar has become a relentless driving force with his hart hitting yet intricate drumming. Each track on this album is a highlight on its own, while combined 'Dance and Laugh amongst the Rotten' simply shines. CARACH ANGREN set out to tell ghost-stories with a set of paranormal cases recorded on the demo 'The Chase Vault Tragedy' (2004). This was soon followed by the official release of the 'Ethereal Veiled Existence' EP (2005) as a prelude to the haunting 'Lammendam' (2008). The Dutch had a clear vision of combining a dark baroque style of metal with horror based lyrical concepts. Their sophomore full-length 'Death Came through a Phantom Ship' (2010) witnessed the band setting sail to bring their eccentric and capturing live performances to audiences and festivals all over Europe. In the wake of third album 'Where the Corpses Sink Forever' (2012), the haunting had reached the Americas and started to spread rapidly. This recorded added a serious side to the lyrics of CARACH ANGREN. While firmly remaining in the horror genre, their tales revolve around the evils of war. This mature streak was taken a step further with the fourth full-length 'This Is No Fairytale', which is on the surface a darker variation of the "Hansel and Gretel" story from the Brothers Grimm collection, but also deals with the too real topic of child abuse in a dysfunctional family.With 'Dance and Laugh amongst the Rotten', CARACH ANGREN are returning to "pure" storytelling with episodes that are centered on a girl playing a little too long with her Ouija board. The Dutch have pushed their unashamedly theatric style to a new intense height. You do not believe us yet? Press play and unleash these radiant ghosts into your home."
Founded in early 2010 by thrash/speed metal enthusiast Samy Elbanna in the Finnish town of Jyväskylä, the front man gathered an ensemble of passionate allies around him to establish a band that should soon become known as the most energetic up-and-comers the scene had seen in years. With their highly acclaimed debut album »Fast Loud Death« released in 2013 – when the guys were still in their teens - LOST SOCIETY rapidly rose to fame and even caught the attention of veterans such as KREATOR and TESTAMENT. Subsequently, 2014‘s »Terror Hungry« saw the pack further enhancing their trademark blend of speedy boozing anthems and moshy mayhem in the vein of ANTHRAX, PANTERA and MUNICIPAL WASTE, resulting in numerous shows and festival appearances all over Europe.
Enter 2016, nothing‘s changed – but yet everything‘s different. From the first second of the quartet‘s new record »Braindead« on, one can‘t help but notice that the light-hearted happy-go-lucky attitude of earlier days has made way for something deeper, darker, heavier. Not an ounce of the youthful passion we‘ve come to love was lost, but rather channeled into what can rightfully be called LOST SOCIETY‘s most mature and profound effort to date. Crushing riffs, relentless bass fire and thunderous drum pounding intertwine, creating soundscapes of death and devastation, while Elbanna – with a voice ripened to fierce perfection – coughs up venomous verses of madness, torture and pain. Crafted to maximum crispness by trusted producer Nino Laurenne at Sonic Pump Studios in Helsinki and mastered by Svante Forsbäck at Chartmakers, with another masterly cover artwork by Jan Meininghaus (BOLT THROWER, SICK OF IT ALL, U.D.O.), »Braindead« offers pieces of SLAYERish harshness combined with EXODUS-like coarseness and, in its remarkable richness of gripping melodies, even borders on melodic death à la CHILDREN OF BODOM at times. But most of all, it portrays the Finns on the threshold of becoming one of the leading forces in contemporary thrash metal. If a band‘s third album determines whether they make it or break it, there‘s only one road for LOST SOCIETY from here – straight to the top!
UNCURED was founded in 2014 by brothers Rex Cox and Zak Cox. The Cox brothers wrote all of the music on "Spontaneous Generation" and played guitar and bass on the EP. They were joined on drums by special guest Max Portnoy (son of drumming legend Mike Portnoy, formerly of DREAM THEATER). Toured alongside Katatonia across the US this past spring.
UNCURED's wide selection of videos and teasers have received more than 400,000 views on Facebook and YouTube. Joining UNCURED on drums is new full-time member Liam Manley from Portland, Oregon. Liam has over thirteen years experience playing drums, including five years of professional session work with various artists across the U.S. Jon Kita from Boston, Massachusetts, who also plays with metal stalwarts DIECAST and CITY OF HOMES, rounds out the UNCURED lineup on bass.