Bring Me The Horizon were a band nobody took seriously, possibly until the release of legendary breakthrough record ‘Sempiternal’ (2013). Even to this day it is currently debated as to whether they can be classed as a ‘proper band’, or simply a joke within the metalcore scene (especially regarding their newest albums). Back in 2008, September 29th to be specific, Bring Me The Horizon released the album that would help them bridge the gap in their style and rise up the ladder to become better known and one day respected in the metal scene: ‘Suicide Season’.
Seen as a slightly vulgar and repulsive title and artwork, this possibly embodies what the band were after, they didn’t want something that would saturate an already oversaturated rock market, as proven by previous releases. Instead, it appears they longed something that was serious, but still them as they perceived themselves, something that defined them. Receiving both critical appraise and dislike, the group were praised for their instrumental upkeep and development but harshly criticised for “cheap” (Ryan Williams, Thrash Hits) lyricism and shouting vocals opposed to the range Sykes presented in predecessor ‘Count Your Blessings’. Stepping up their professionalism, the group travelled to the lonely Swedish village of Arboga, away from the bustling streets of Birmingham where they previously recorded. However, an unshakable negatively skewed perception meant even producer Fredrik Nordstrom had his pre-perceived doubts from CYB leaving the group mainly to their own devices, but was then initially shocked by the music they had recorded halfway through the SS process. Perhaps this is where the change truly began for the band as they alone created a record they wished to release. With a more positive response, the group also went on to devise ‘Suicide Season: Cut Up’, a variation of remixes of the original tracks for a more electronic feel.
Truly the album is questionable at times, ‘The Football Season Is Over’ is… well the embodiment of the young ‘adults’ the then 5-piece line-up once were (as well as including an interesting feature from JJ Peters of Deez Nuts). The lyricism of the band is also… questionable at times to say the least. Infamously, Sykes beautifully exploits a sample of such in ‘No Need for Introductions, I’ve Heard About Girls Like You on The Back of Toilet Doors’. ‘After everything you put me through, I should have fucking pissed on you’ – the truthful, beautifully poetic lyricism from frontman Oli Sykes that, to this day remains a reminder of just why the band moved on and improved (thankfully for the better). Yet, through this time trouble was never stray, from on-stage fights to lawsuits, there was the potential such negative press could launch the outfit further than their albums ever could. A negative effect on the band meant even less respect was paid to them, a refusal for acceptance and indiscriminate judgement still present to this day.
In total, three single releases were pulled out from this release: ‘Diamonds Aren’t Forever’, ‘The Sadness Will Never End (Featuring Sam Carter of Architects)’ and most recognisable single ‘Chelsea Smile’. ‘Diamonds Aren’t Forever’ is the dusty forgotten track from the trio, a track once good in its prime but one that inevitably fades into the rest of the album. Alternatively, ‘Chelsea Smile’ resonated so well with fans and the band, that the single is the oldest track the band will play live, even skipping tracks from ‘There Is A Hell’. With an intrepid breakdown and emotionally resonating bridge, it’s completely understandable why the melodic evolution of this track still stands so strong amongst fans and the band themselves. Once again, ‘The Sadness Will Never End’ features the same powerfully impassioned lyrics intertwined in Sam Carters clean vocal style showing Bring Me had the potential bubbling away, but were perhaps held back by alcohol, drugs and further personal issues, later to be admitted to the public.
The albums title track however, is possibly one of the most underrated tracks in all Bring Me The Horizon’s discography. An intensely raw lyricism intertwined with vulnerability and truths is what makes this undoubtably the most beautiful track on the record. Both heavy and ballad-like, it is here we see the heartfelt instrumentals pave a way through the track, a feature that becomes predominant in the groups following release ‘There Is A Hell, Believe Me I’ve Seen It, There Is A Heaven, Lets Keep It A Secret’. ‘If only sorrow could build a staircase, our tears could show the way’, a desolate, melancholic line that proves there is a sense of seriousness to the group. Shown in its entirety then – perhaps now, but now is ever present (at least most of the time).
Here’s the verdict, is ‘Suicide Season’ Bring Me’s best album? Not even close. However, it’s a part of their transition, an important timeframe of their development to becoming the more polished, professional (well… still questionable) and the ‘no fucks given’ band they are today. Look at the group now and they’re almost unrecognisable from who they were ten years ago, but this album is still an important part of their history that shouldn’t be forgotten.
Halloween is upon us and with it comes As It Is’ spectacular horrifying video for ‘The Reaper’ (Featuring Aaron Gillespie).
Directed by Zak Pinchin, the creepy melancholic atmosphere of the story and cinematography not only brings the track to life, but also brings a great twist to Halloween this evening. Speaking of the video, Ben Langford-Biss says, “The Reaper is the moment in the record’s narrative where The Poet becomes so desensitised to the concept of death, that death appears and manifests before him, offering an “escape”- not in a malicious way, but as a means of release from the pain The Poet is feeling. It was one of the most crucial and challenging moments in the narrative, and it was the last one that came together – lyrically and musically.
To confer these themes of turmoil and conflict, the sort of inner claustrophobia The Poet is experiencing, we wanted the video to be gritty and dark. We ended up taking visual influence from some of our favourite horror movies and TV series, and our director Zak Pinchin really clicked with what we were trying to get across.
The video shows each of us waking up trapped in rooms, each room representing one of the four stages of grief that the record is chaptered into; denial, anger, bargaining & acceptance. Each of us faces off with death in some respect, whether that be in a literal or metaphysical sense, and there is an external antagonist controlling the events in the rooms – forcing us to face our fears, our grief, or even ourselves. We were super excited that Aaron Gillespie was able to be a part of the video, to play the part of this puppeteer / antagonist!
Both the song and the video are so different to anything we’ve done before, and we’re so fortunate that our fans have embraced the darker and heavier side of our band & our constant desire to progress in new directions. And we just cannot wait to finally bring this album to life on stage when we finally start touring The Great Depression era this week: first in Japan, and then in Europe and UK (which culminates in our biggest headline show to date at the London Forum on December 1), and then we’ll be returning to the US in early 2019 for our first time since Warped Tour! There’s so much more to come from this chapter of our band, we are only just getting started‘
As if the bands US tour announcement wasn’t enough! Check out the new video and tour dates below!
Having only officially released just three tracks on the market, Idle Hours are making their way through the Manchester indie music scene, building their way up to the surrounding areas.
A key aspect of Manchester, is that you’ll never fail to find the uprising indie talent in each corner, one of which is Idle Hours. The four piece outfit formed of Jack Waldron (Vocals, Guitar), Alex Needham (Bass), Tom Ashton (Guitar, Backing Vocals) and Jimmy Brown (Drums) are described as a blend of surf-pop, infused with tinges of indie rock, catchy melodies and impactful lyricism. Meeting at University and forming in 2017, the band released their debut ‘Powder White’ in April this year influenced by the likes of Blur, Artic Monkeys and Bloc Party.
Soon after releasing second single ‘TV Crush’ in May, the group band added to their live performance list playing venues along the likes of Zombie Shack and Jimmy’s whilst also venturing out to Liverpool. As a band also shortlisted for the opportunity to play Truck Festival, it’s no surprise the quartet have played headliners at Music events such as Friday Night Live and Indie Week.
Now releasing third official surf-pop single ‘Happiest Place On Earth’, the band are set to support Deco at Gulivers this Saturday (3rd November). If upcoming indie deviations are to your taste, take a look at Idle Hours for your next indie playlist addition.
This weeks track of the week goes to Swedish post-hardcore four piece Imminence.
After a slight lineup change and a distinctive switch in musical styles, Paralyzed embodies the bands new direction, a path they aim to head down. Mixing elements of debut ‘Return To Helios’ and fan-favourite single ‘The Sickness’. A far step from ‘This Is Goodbye’ but still containing their signature styles and Architects-style influences. A track (and video) to hear now!