parodies by nacrowe
i wasnt on the bandwagon with the MERCURIAL SHEFFIELD band BRING ME THE HORIZON from the very beginning, but close enough. i first learned about them after their single "CHELSEA SMILE" off of their second album SUICIDE SEASON (VISIBLE NOISE, 2008) came out back in the late 2000s. and really what separated the band from the other BRUTAL and ULTRA-HEAVY METALCORE / DEATHCORE bands emerging to prominence at the time like ALL SHALL PERISH, SUICIDE SILENCE, DESPISED ICON, WHITECHAPEL, CARNIFEX and JOB FOR A COWBOY was ironically their sense of MELODY. i remember listening to that album and thinking that in spite of its beyond AGGRESSIVE sonic annihilation and DEVASTATING lyrical content were actual MEMORABLE, WELL-COMPOSED songs. like the band could actual construct riffs together and their vocalist, OLI SYKES, on occasion, could SING. my initial reaction was that this singer had a wider TECHNICAL and EMOTIONAL range then GIFTED scene peers in MITCH LUCKER (rest in peace), PHIL BOZEMAN or HERNAN HERMIDA.
their follow-up THERE IS A HELL BELIEVE ME I'VE SEEN IT. THERE IS A HEAVEN LET'S KEEP IT A SECRET. (VISIBLE NOISE, 2010) was a more WELL-PRODUCED and REFINED version of SUICIDE SILENCE but the fourth album SEMPITERNAL (EPITAPH, 2013) was the creative and commercial breakthrough. shedding both a NASTY addiction to KETAMINE and a beloved guitarist in JONA WEINHOFEN (BLEEDING THROUGH, I KILLED THE PROM QUEEN), SEMPITERNAL marks the addition of the TALENTED keyboardist and electronic producer JORDAN FISH to the band as an INTEGRAL SONGWRITING PARTNER and as the fork in their career when things got WEIRD. but in a good way. somehow the band maintained their edge while incorporating a wide VARIETY of elements that derived from everything from TRIP HOP, AMBIENT, POST METAL, ELECTRO and even INDIE POP to create an ever shifting and evolving stew of UNEXPECTED sonic juxtapositions that maintains a core of exceptionally STRONG SONGWRITING.
and that focus on MELODY and the COMPOSITION of the song itself, rather than the sonic trappings of its relative heaviness or otherwise aural dressing up, is what continues to separate BRING ME THE HORIZON from the pack. it really feels like after the second lease on life post-ADDICTION, SYKES as the de facto leader of the band has really continued to put out VARIED releases that have a sense of DANGER and RISK to them. as if he is attempting to alienate his own audience in the process. contrarily, he has been an innovator in an otherwise stagnant METALCORE scene navel-gazing at and celebrating its own collective sonic BRUTALITY, with no real ARTISTIC RISK involved. you get the feeling that BRING ME THE HORIZON several eclectic albums post-SEMPITERNAL are on their own kick at this point. they have long transcended the scene, which continues to look to them for ideas and concepts (and even band names) from throughout their career.
i just love the fact that in the great tradition of other cultural innovators in MODERN ROCK AND ROLL like MIKE PATTON, WAYNE COYNE, DEVIN TOWNSEND, PERRY FARRELL or GIBBY HAYNES, OLI SYKES is likewise unafraid to risk everything in search of a new sound, a new idea, a new expression. which is why i am still very much on the ride.
embedded below is a RECENT DEER GOD RADIO episode on nonprofit internet radio station MAKERPARKRADIO.NYC that includes a BRING ME THE HORIZON playlist from throughout their ECLECTIC catalogue. enjoy!