If the name Ryoji Shinomoto rings a bell, it’s because of his work at the head of Ryujin (formerly Gyze), the ‘Samurai metal’ Japanese act that focuses on a fusion of western and eastern influences in their approach to melodic death metal glory. Children of Bushido is Shinomoto’s first solo album, and to add to it’s distinct flair, it’s entirely made up of Children of Bodom covers (hence the album title). To those who might be skeptical, give it a chance, as it’s a true fusion of CoB and Japanese instrumentation, and each track is dripping with musical passion from Shinomoto.
What makes Children of Bushido such an interesting album is how Shinomoto manages to take the cold, Finnish shred style from Children of Bodom and reimagine the songs with a heavy dose of Japanese instrumentation and completely transform them into something fresh…all without losing the feel of the originals. It’s a testament to Shinomoto’s ingenuity that the songs never feel rehashed or simply ‘sounding like a cover.’ “Hate Me” takes that aggressive, stomping CoB tone and adds a flurry of Eastern symphony to it, elevating it to an almost jovial feel that never loses an ounce of the shred factor. “Silent Night Bodom Night” oozes with folk Japanese instrumentation to give it an entirely different feel. There’s still that ‘night-time lake’ sound, but it’s been transported from one side of the world to another. “Needled 24/7” maintains the raging intensity of the original, but ups the symphonic factor to it to give it a stronger and more crushing sense of bombast to it. The chaos of riffing and dragon flute makes for a potent combination. Closer “Downfall” is given an even greater sense of mysticism and melancholy with this treatment, culminating in a finale that drives forward with energy while still grabbing your ear with intrigue and exotic sounds.
Simply calling Children of Bushido a ‘covers album’ does it a great disservice. These Children of Bodom tracks have been revitalized with fresh passion and a unique ear that gives them a brand new feeling and energy. Ryoji Shinomoto does justice to the songs (and Alex Laiho’s legacy) and provides an experience that should appeal to a crowd far wider than just fans of the original CoB material.