For many, Alexi Laiho was one of the greatest guitarists of his generation. But for Ryoji Shinomoto, he was more than that: a creative beacon, a teenage hero, and eventually, a real presence behind the scenes of his career. Known for leading RYUJIN (formerly GYZE), the Japanese musician began with classical guitar and later dabbled in punk, but it was discovering Children of Bodom that shaped his true musical identity: melodic, aggressive, and unmistakably unique.
On Children of Bushido, his first solo album, Ryoji pays tribute to Alexi in the most personal way possible: by fusing melodic death metal with the ancestral soul of Japan. Released on what would have been Alexi’s 46th birthday, the album is both a love letter and a legacy - a tribute where the spirit of the Finnish wildchild meets the honour-bound code of the samurai.
In this exclusive interview, Ryoji opens up about how Alexi shaped his path, the emotional journey behind this unique homage, and how he found creative freedom at the crossroads of two worlds: Bodom and Bushido.
M.I. - What did Alexi Laiho and Children of Bodom mean to you personally and musically - and how did they shape your own artistic journey?
I originally studied classical guitar, but everything changed when I discovered KISS. That’s when I realized I wanted to become a rock musician - someone iconic, someone larger than life. From there, I also got into punk and other genres, but it wasn’t until I found Alexi Laiho and Children of Bodom that I truly understood what kind of music I wanted to make: melodic yet aggressive.
Alexi was a true guitar hero. Practicing his solos was probably what made me into the fast-playing metal guitarist I am today. Even vocally, his influence helped shape the style I use now.
As a teenager, I was simply a fan. I saw them live when they toured Japan. Later, in 2015, my band toured with Children of Bodom during their Asia tour, and I even did a feature interview with Alexi for a Japanese guitar magazine. We had drinks together during that tour, and those moments remain special to me.
His fusion of classical melody with metal became the foundation of what I now call “Samurai Metal.” His influence runs deep in my sound and vision.
M.I. - Releasing “Children of Bushido” on what would have been Alexi’s 46th birthday is a powerful gesture. What emotions were running through you as you prepared this tribute?
It was a very emotional experience. I wanted to honour his memory in a way that felt deeply personal.
Originally, I had planned to release the album on his memorial date in December, but I found out that the Japanese label wasn’t able to handle a proper digital release.
That’s when I began discussions with Napalm Records, and we decided on a worldwide release date of April 8th - which happened to be Alexi’s birthday.
While working on the album, it started to feel like I was creating something new, not just covering his songs. The arrangement process, especially the Japanese elements, was very similar to how I usually work with RYUJIN.
Releasing it on his birthday became a way to express my gratitude and to carry his legacy forward to new listeners.
M.I. - Did you ever meet or speak with Alexi, or was this tribute built more from a deep connection to his legacy?
Yes, I met Alexi during the 2015 Asia tour where GYZE (now RYUJIN) and Children of Bodom shared the stage for several shows. I also had the opportunity to interview him for a Japanese guitar magazine. We even went out for drinks during that tour, and those moments remain very special to me.
We weren’t close friends, but we definitely had some interaction, and it meant a lot to me. So, this tribute comes from both a personal connection and a deep respect for his legacy.
M.I. - The fusion of Western melodic death metal with traditional Japanese instrumentation is stunning. What inspired you to merge these two musical worlds? Can you tell us more about the specific traditional Japanese instruments used on the album and how you adapted them to fit the aggressive, modern metal framework?
I’ve always wanted to create a truly Japanese form of metal. On “Children of Bushido”, I used traditional instruments like shamisen, shinobue, and ryuteki, along with symphonic elements. In addition to that, I often replaced the original scales with traditional Japanese ones. It’s the same process I usually use when working on RYUJIN songs.
I tried to preserve the essence of the original rhythm tracks as much as possible, I didn’t want to break what was already complete. Instead, I focused on transforming the scales and rhythmic feel into something more Japanese. That’s how I was able to blend everything together naturally.
M.I. - How did you choose which Children of Bodom tracks to reinterpret for “Children of Bushido”? Were there any that felt especially meaningful or daunting to tackle?I chose songs that had personal meaning to me, especially those I listened to when I first became a Bodom fan.
Actually, the roots of RYUJIN go back to a Bodom cover band I had in the early days, so many of the tracks I picked were ones we used to perform back then. I also prioritized songs that I felt could be effectively reimagined with a Japanese touch. At one point, I considered covering “Hate Crew Deathroll” with guest vocals from friends like Matt from Trivium (our producer) and Petri from Ensiferum. But, in the end, I decided to do everything alone to keep the tribute more personal and sincere.
M.I. - Did you stay close to the original arrangements or allow yourself creative freedom to reinvent them with a new cultural identity?
As I mentioned earlier, I tried to preserve the core structure of the original arrangements, especially the basic band elements.
However, when it came to the non-band instruments, I allowed myself complete creative freedom.
While I respected the spirit of the original songs, I reimagined the arrangements, instrumentation, and emotional flow through the filter of my own style, what I call “Samurai Metal.”
M.I. - What was the most emotionally difficult song to record on this album, and why?
I’d say “Bodom After Midnight” was the most challenging, not so much in terms of arrangement, but in the mixing process.
Since I handled not only the recording but also the mixing and mastering entirely by myself, finding the right balance for that track took some time.
I usually enjoy mixing just as much as recording, it’s a creative process I love. But trying to capture the sharp, aggressive edge of Bodom’s third album was quite difficult, especially since my style tends to involve lots of layered tracks.
Still, whenever I’m mixing, I feel amazing… it’s one of my favorite parts of music production.
M.I. - This is your first solo release… what does stepping into the spotlight like this mean for you, especially with such a deeply personal project?
It gave me a sense of freedom. That said, I’ve always been the main songwriter and producer for RYUJIN, so in terms of actual work, this project wasn’t so different.
However, releasing it under my own name helped make sure that RYUJIN wouldn’t be mistaken for a cover band. More importantly, my feelings for Alexi were deeply personal, so I didn’t feel the need to share that process with others.
Going forward, I plan to use my solo name for cover projects, and even for creative experiments that go far beyond metal. I wanted to create a space where I can stay completely free.
M.I. - How did you balance paying tribute to Alexi’s unique style while also expressing your own musical voice?
For the most part, I used my usual vocal style. That’s the voice I’ve developed over time, and I wanted to stay true to it.
That said, I did reference the original performances in certain places, especially to capture the spirit of Alexi’s delivery. I also added some original elements, like Japanese lines in the backing vocals and shouted phrases.
People often focus on Alexi as a guitarist, but he was a great vocalist too. His vocal style was different from mine, but that difference made the reinterpretation more meaningful. I believe my own voice still came through clearly in these covers.
M.I. - What does the word “Bushido” symbolize in the context of this album - not just philosophically, but musically?
The idea for the name “Children of Bushido” actually came from a YouTube comment on RYUJIN’s collaboration track with Matt-Raijin & Fujin.
Someone must have felt a connection between RYUJIN and Bodom, and replaced “Bodom” with “Bushido.” When I decided to create a Japanese-style tribute to Bodom, the word “Bushido” felt like the perfect match.
Not only does it carry deep cultural and philosophical meaning, but in this case, it captured the essence of what this tribute became… a Japanese reinterpretation of Children of Bodom.
For Portuguese version, click here
Questions by Sónia Fonseca
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