Bring Me The Horizon – Post Human: Survival Horror EP Review

Bring Me The Horizon have had an interesting career. They started off as a very uncommercial, noisy, sloppy Deathcore band with screams, screeches and murderous lyrics. People covering that sort of music at the time basically laughed them out of the room though. It wasn’t pretty.

Then they evolved into one of the best British Metalcore bands in the scene for several years, releasing well crafted and memorable albums like Suicide Season, There Is A Hell’ and Sempiternal. Their audiences got bigger and bigger, but so did the backlash, the internet and magazines were awash with anti-BMTH sentiment. All the negativity, critical bashing and internet comment-section abuse eventually alienated the band from the Metal community, and they seemed to decided if they’re going to be called sell-outs or “not metal” anyway, they may as well go with it and seek a more mainstream radio audience.

Their next two albums, That’s The Spirit and Amo were much more commercial, pop-music-infused, modern, melodic, and autotuned. It definitely turned off some of their early audience, but it gained them a whole new audience and mainstream approval, allowing them to go on TV shows Metal fans scoff at, play festivals Metal fans scoff at, get play on radio stations Metal bands can only dream of and get covered in magazines Metal fans scoff at (or in reality allow them not to have to speak to Metal Journalists who rudely dismiss them and focus on more mainstream publications. Some fans call this selling-out too, but if I got that much abuse from the Metal community, I’d do the same thing!).  

Even if the music slowly moved away from what I liked about the band on their 2nd and 3rd albums, they always put out great sounding and interesting albums that were objectively quite good and I’ve enjoyed their musical evolution.

Their last release, last year’s Music To Listen To‘ EP was their bigest departure yet; an experimental, chill out affair and not really what I’d consider a canonical release. Now in late 2020, they’ve released another EP, but this time of proper Rock/Metal songs. Its 9 tracks and about half an hour long, but it does feel like a canonical release and you can imagine these songs being included in future live sets and best-ofs unlike material from the previous EP.

Some of the tracks have been released already, such as ‘Parasite Eve’ and ‘Ludens’ on various soundtracks, and ‘Obey’ (featuring a colab with the singer Yungblud) was dropped as a single earlier this year, with a music video reminiscent of ‘Intergalactic’ by The Beastie Boys. All these (at the time) non-album singles were fairly well received and got people’s hopes up that the band were “going heavy again” as there was a lot more guitar and bigger grooves than the last two albums, and got several lapsed fans excited for the next effort.   

Post Human: Surival Horror opens strongly with the heaviest song in years. It would have been a good bridge between Sempiternal and That’s The Spirit. That’s not to say the whole EP is a return to old formulas. There’s still a lot of the pop/electronic focus of the last few albums, there’s vocal lines that would’ve never fit on older albums, but it does have a crunch and bounce that was in short supply on Amo. In fact that had a song called “Heavy Metal” basically calling out Metal fans for all the comment-section hate.

On the other side of the coin; the collaboration with Babymetal ‘Kingslayer’ is a colourful neon explosion that sounds exactly like what you’d imagine when you hear “BMTH collaboration with Babymetal 2020.” That’s also preceded by one and a half minute intro of the same nature. New single (is it the lead single when they released the other 3 singles separately before the EP was even announced?) ‘Teardrops’ is a nice melodic modern radio-rock single and the natural evolution of what they’ve been doing on the last two albums.

There’s also 1×1 which is a very faithful recreation of the style of Linkin Park’s first two albums. The band have never made any secret of their appreciation for Nu Metal’s biggest selling band, but this is their most influence-on-sleeve track to date.  The EP closes with the annoyingly titled “One Day The Only Butterflies Left Will Be In Your Chest As You March Towards Your Death” which is a slow electronic half-ballad, with a guest appearance from Evanescence’s Amy Lee, that will suit fans of material like “And The Snakes Start To Sing” or “Memorial” from previous efforts.

Overall, stylistically this EP is a bit of a mixed bag. There’s no easy tag. Its not the band going heavy again. Its not their poppiest album to date. It is a mish mash of their past 3 records, plus new ideas, and multiple collaborations as usual. You’ll probably never find an objective review of this highly controversial and much discussed band, but throwing my biased two cents in, I think this is a worthwhile EP and fans of the band who haven’t jumped ship yet have nothing to fear, fans of the band who’ve only been here a short time have nothing to fear, save maybe the opener. All in all, I think they’re going for a best-of-both-world’s thing here and they’ve almost nailed it. If they ever release a new full-length album (which is uncertain as they’ve talked about giving up on that format in today’s modern Spotify world) then I imagine further practice at this compromise will yield even better results and hopefully their most well rounded album in years.

Bring Me The Horizon – Amo Review

Bring Me The Horizon are a very weird band. They have early albums with blast beats and death growls and their latest album is basically a pop music album with barely any guitars. That’s a pretty diverse discography, and if you bought and liked one and then picked up the other without any prior knowledge, you would be understandably confused, and possibly distressed. There was a very natural evolution over time, with different fans getting on and getting off the train at different points, but still.There’s a song on this album called ‘Heavy Metal’ which cleverly calls this out, and the chorus is basically variations on ‘’this shit aint heavy metal …and that’s alright.’’ – This very much sums up my feelings.

Now; my favourite BMTH album is probably the heavy, exciting and savage sophomore album, Suicide Season. The sound of that record is much closer to death metal and metalcore than pop music. However, with each new album the band have broadened their horizons and changed their focus so much that when they dropped the controversial Amo in January 2019, it made sense.

There are a few nuggets of the band’s older energy, such as the lead singles ‘’Wonderful Life’’ and ‘’Mantra’’ (the former of which has a guest vocal from Dani Filth!) as well as ‘Sugar, Honey, Ice & Tea’. However, where the album really shines is when they go full on radio pop.

My favourite song on the album for example is ‘Medicine’ which feels like something you’d hear in a clothes shop nowadays, and other highlights include ‘Nihilist Blues’ which sounds like something they’d play in a nightclub scene in a sci-fi videogame and ‘Why You Gotta Kick Me When I’m Down?’ which sounds like an advertisement for some trendy car-chase movie. It gives me a peak into musical worlds I normally have no exposure to or interest in and as such, is nice for the unique place it has in my music collection.

I don’t think I would have gotten into this band at all if this was the sort of music they’d always played. If I heard almost any song off this record and it was a new band, I don’t think I would explore any further, but since I’ve been following the band for years and years, it was nice to unexpectedly end up here. I don’t own any other music that sounds like ‘Fresh Bruises’ outside some electronic tinged remix bonus tracks from singles and digipaks in the Nu Metal era.

I guess it may sound a bit bizarre next to tracks from Count Your Blessings or Suicide Season in a playlist, but there’s no denying it is catchy. Maybe watching too much Teen Mum UK with my wife has exposed me to too much contemporary pop music, but ‘Mother Tongue’ is one of the catchiest new releases from any band I like in 2019.

As I, and I’m sure many other reviewers as cliched as me will have already said, (it really is low hanging fruit), Amo ‘aint heavy metal, but that’s alright.