Hatebreeder

[Hatebreeder] 乐队的第二张专辑，这张专辑比前作更有前卫金属的味道，多了一分甜美而少了一分冲劲。在音乐的编排上运用了更多的变奏技巧，键盘不再总是做一条主线，更多的用来铺垫音乐氛围，使音乐显得气势恢弘且环境感极强，只是觉得少了一些黑暗和阴冷的感觉，作为一张重金属专辑来说，这无疑是相当优秀的一张。短短的一年之内就已经有一大批乐队在模仿这样的风格，1999年就连中国乐迷也开始觉得对这种音乐“了解透彻”了，但实际上没有一个乐队能玩到Children Of Bodom那么好。对于已经“极端”了的乐迷来说，这种音乐被太多人认识了，于是他们选择了离开。不过，无论如何COB仍是一支非常优秀的乐队。

by Vincent Jeffries

Hatebreeder, the second release from Finland's Children of Bodom, is a louder, faster, and positively heavier release than the group's debut. Under normal circumstances, this type of evolution is a guaranteed upgrade for a metal band, but not all of Hatebreeder's elements are improvements on the blueprint established during Something Wild. Most noticeably, Alexi Laiho's black metal scream is more menacing and consistent, but this is a disputed topic among Scandinavian metal enthusiasts. Many listeners enjoy the music, but could do without the bloodcurdling vocal excess, while others consider it a critical element of any real metal statement. The value of so much throat splitting is subjective, but Laiho's refinement of the approach isn't. Along with the shouting, the entire sound of Hatebreeder is improved. The guitars and keyboards are massive and more frantic, and Jaska Raatikainen's drums are unreal. In the history of metal, it is difficult to recall many displays of pure speed that top Children of Bodom. The rest of the band definitely keeps up with Raatikainen's machine-gun delivery. Guitarists Laiho and Alexander Kuoppala also deserve credit for the thick-sounding rhythms and quick lead playing. As long as these activities aren't technically enhanced, the band deserves credit for the physical accomplishment, but it all doesn't quite add up artistically, at least not to the standard of other Children of Bodom releases.