In the Post #99: Bring Me the Horizon – Shadow Moses

By on Wednesday, 23rd January 2013 at 12:00 pm
 

Words by guest reviewer Achal Dillon, Managing Director of Killing Moon Ltd.

I’ve always had a bit of a thing for Bring Me the Horizon (not in that way). Since the metalcore/hardcore/whateversolongasitissuffixedbythewordcore busted out of Sheffield at some point in the mid-noughties, bearing tattoos, wonderfully-articulate side partings and all the rest of it, fans of the genre around the world were delighted to applaud these guys all the way to the Kerrang Awards. Then again, some people didn’t like them so much; such is the inherent elitism that exists within a scene that ironically is supposedly regarded as more of a forward-thinking movement in terms of freedom of expression. The sonic energy and rather-striking image of the band had apparently proved too much for some people to digest and ultimately accept.

Since then, three LPs and a bunch of other releases under their belt-later, the opinionated have remained ever so opinionated. Yet this is a band that may as well have perseverance inked to their person along with a million other tattoos; vocalist Oliver Sykes in particular has been singled out for his very-much “fuck you” attitude to the amount of outright naysayers that had been accumulated alongside an intimidatingly-ever growing fanbase on the long path to the highly anticipated new album, entitled Sempiternal, which also represents the band’s major label debut; the departure of long-term guitarist Jona Weinhofen; and the introduction of keys/programmer Jordan Fish, formerly of Worship (for whom Killing Moon had released a single in 2011. Hopefully you’re getting the connection here).

The first single to surface from said-new album is ‘Shadow Moses’, which dropped on a relatively-unsuspecting world at the start of the year, on a rather-unexpected play during the daytime on BBC Radio 1 in January 2013. How can I begin to describe the utter joy I experienced upon hearing this beatdown-laden, wall of sound-lacquered, chuggy rhythm guitar-led bold slice of heavy rock? Other than saying outright that it made me have a joygasm?

Possibly the most refreshing aspect about Bring Me the Horizon, and indeed embodied within the powerful soundbites entrenched in ‘Shadow Moses’, is that rather than adapting to an ever-changing popular musical landscape, is that they prefer to remain honest. They are honest in terms of the way they choose to look, the songs they choose to write, and the way they choose to present them to the world at large. That kind of respect isn’t easily given; it is earned through the hard graft of taking the proverbial punches alongside the praises. “Can you tell by the look in our eyes/We’re going nowhere” sing the band gang-vocal style throughout the track. Sorry guys, but I think you’re wrong. I think you’re very much going somewhere. Just keep doing your thing.

Bring Me the Horizon’s fourth album ‘Sempiternal’ will be out on the 29th of April on Epitaph, and the band will begin their next UK tour on the same day (all the details here).

[youtube]http://www.youtube.com/watch?v=-k9qDxyxS3s[/youtube]

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4 Responses

1:36 pm
23rd January 2013

@tgtf @killingmoonblog brilliant song. Bloody brilliant!

[…] First up from us whining limeys is the fruity little red number that is Summer Wine’s Rouge Hop. A heavyweight, tipping the scales at 5.0%, it boasts a thick seam of coal that belies its Huddersfield roots. Taste-wise, there’s no long lasting affection on the palette but the bombast of a 5.0% buzz pulls it through in a live pub setting. I therefore dub it a ‘Bring Me the Horizon brew’. […]

[…] on from the titanic album ‘Sempiternal’. From the opening intro of ‘Shadow Moses’ (previous In the Post here) it was brutally obvious that Mr. Sykes had in one fell swoop gathered up the entire Reading crowd […]

[…] as Sykes does his best to use the F and C bombs as frequently as he can in one song. Meanwhile, ‘Shadow Moses’ is a beast of a different order, showcasing a BMTH embracing a spot of synth, while still remaining […]

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