Today’s the day all BMTH fans will finally be able to tell whether the talk about the album being so “mainstream” was at all true, so here’s my take on it:
DOOMED: The song begins with a bizarre electronic sequence that drifts back later in the song, but there are a fair share of gruff vocals as Sykes exclaims “come rain on my parade”, and Lee Malia’s guitars are stronger than most people than expected right from the off as he riffs away through practically the whole song which gives it a tight, emotive sound to the end
HAPPY SONG: Originally released on July 13th, this tune has already torn up Reading & Leeds festivals and the warm up gigs as the new set opener, which the crowd took as a cue for it to hit the fan from the off. With it’s masterful chorus riffs from Lee, awesome clean vocals as well as screams from Oli and great thrashing drumline from Matt, it seems to be a pretty perfect song, then it’s finalized with the pre chorus from Jordan; polished and masterful electronics creating a brilliance most bands can only dream of.
THRONE: Again, released in July, this song marked the tone of the album before it was announced at all. Right from the beginning, one can hear that this record definitely won’t be as hardcore as Suicide Season or as all round crazy as There Is A Hell… but it is a great track for all sorts of places.
TRUE FRIENDS: Another early release, this song is bordering on a My Chem-esque emo sound, with insane clean vocals with the classic Sykesian shrieks in the prechorus, which really does bring it together. The finishing touch to this tune, however, is brought by the string section which creates a light descant to the power of the vocals and almost blues riffs coming from Lee’s fingers. I think lyrically, this is one of the dark songs on the album, and clearly Jordan and Oli have had battles with those they believed were true friends, and that really does come out in the words.
FOLLOW YOU: One word for this: Jordan. It begins with a very electronically processed section, moving through to a verse with Sykes’ uncharacteristically clean vocals and a choral harmony behind him, leading to a beautiful ballad chorus where the vocal tones go through the roof with a crystal clear falsetto, later undercut with overlapped gruff harmony vocals.
WHAT YOU NEED: Instantly, a kicking blues riff starts hitting, turning into an overdriven blues rock lick that compliments Sykes’ vocals incredibly. For the first time on the record so far, the electronics really let Matt’s bass line shine through, showing his clear mastery explicitly. All of a sudden the instruments cut and leave Oli on his own to start singing the haunting lines “you make me want to slit my wrists and play in my own blood”, which shocked me really, it seemed to come out of the blue but overall, solid tune.
AVALANCHE: Oli’s personal song about being diagnosed with ADHD is produced and crafted by the hands of an expert, and it appears that master goes by the name of Fish. He has added fully mixed string section and tasteful electronics over the top of the prechorus, then the chorus comes in literally like an Avalanche in that the verses are very clean and mellow then the chorus and odd riff just come beating down with real power.
RUN: This is the first one of the unheard songs that sounds anything like Sempiternal-era BMTH. The processed chorus gang vocals that is oh so frequent on the 2013 album makes a dramatic return to support the classic Sykes sing-growling and Malia trem picking, combined with a light touch of keyboard behind the lot creates a real throwback to what is considered the making of BMTH a couple of years ago.
DROWN (NEW): A rerecord of the single that split the fanbase, mixed in a more similar, polished manner than the original, which actually makes it more listenable and sound more “brought together”, with the choral line endings more apparent than originally.
BLASHPHEMY: Bluesybluesybluesy. I have to say, this isn’t what I was expecting but this really is a masterpiece of a track. Lee shows his real class in his riffs as he slowly punches away at the strings, as Jordan and Matt create a dual bass-choral electronic sounding beat through the verses and Sykes’ voice is the best it ever has been on this track, not just this album but ever.
OH NO: Ibiza has led its influence to this track, indefinitely. With Sykes’ vocals removed, this song wouldn’t be recognisable at all, but even with them playing, I wouldn’t know who this new band were. Like, at all. This is definitely not a bad song, but their bridging the gap between pop and rock is definitely made apparent in here. It could get played in a club and fit in as well as a new Will.I.Am or Jay-Z track would, yet it can get away with being what it is because it’s BMTH, and I’ll be genuinely fascinated to see them play it on tour in November.
Overall, I’d say it’s not what I was expecting at all. It’s blues, rock, EDM, metalcore and pop all at once and despite that, it’s still a very Bring Me record somehow, and I love it! Here’s to the Spirit, let’s go for number one…
Songs to check out: Avalanche, Happy Song, Blasphemy
For fans of: anyone or anything, honestly