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Video of the Moment #1952: Bring Me the Horizon

By on Monday, 9th November 2015 at 6:00 pm

Hard-rocking Sheffield five-piece Bring Me the Horizon have a new, arresting video for their equally arresting track ‘True Friends’. Actually, ‘video’ would be diminishing their effort here. It’s more like a mini-episode of Law and Order: Criminal Intent, effectively using the passionate nature of the lyrics of ‘True Friends’ (“true friends stab you in the front…you got a lot of nerve / but not a lot of spine / you made your bed when you worried about mine / this ends now”) highlight unexplained, sinister goings-on in a family. It’s a graphic video, so if you’ve got a weak stomach, skip this, but if you like crime dramas, I can’t recall a music video in recent memory that gripped me and had me on the edge of my seat like this.

Both ‘True Friends’ the single and ‘That’s the Spirit’, Bring Me the Horizon’s fifth album, are out now on Columbia Records. Catch the group live on their headline UK tour to start next week.



Bring Me the Horizon / November 2015 UK Tour

By on Thursday, 3rd September 2015 at 9:00 am

Sheffield quintet Bring Me the Horizon have announced a short run of live shows for this November, including a date at London’s Alexandra Palace on the 28th of the month.  The band’s fifth album ‘That’s the Spirit’ is due out on the 11th of September, and the video for their latest single ‘Throne’ was featured right here back in July.

Tickets for the following shows go on general sale tomorrow, Friday the 4th of September, at 9 AM.  TGTF’s previous coverage of Bring Me the Horizon is back this way.

Tuesday 24th November 2015 – Glasgow Academy (added 26/10/2015)
Wednesday 25th November 2015 – Edinburgh Corn Exchange
Thursday 26th November 2015 – Doncaster Dome
Friday 27th November 2015 – Cardiff Arena
Saturday 28th November 2015 – London Alexandra Palace
Sunday 29th November 2015 – Birmingham Academy (matinee and evening shows; added 26/10/2015)
Monday 30th November 2015 – Bristol Academy (added 26/10/2015)


Video of the Moment #1864: Bring Me the Horizon

By on Friday, 24th July 2015 at 6:00 pm

Sheffield rock stalwarts Bring Me the Horizon will be releasing their fifth album ‘That’s the Spirit’ on the 11th of September, and ahead of that, they’ve shared a teaser from the LP today. ‘Throne’ is a relentlessly hard number, and the promo plays with the light and dark, scary images of bodies in coffins and men in hoods, and generally comes across as all you’d want in a video if you’re a hard rock fan. Question though, have they always had a synthesiser? Watch ‘Throne’ below.

If you’re keen on seeing TGTF’s past coverage of Bring Me the Horizon, you can read it all here.



(SXSW 2014 flavoured!) Bands to Watch #277: Bring Me the Horizon

By on Monday, 9th December 2013 at 12:00 pm

2013 was the year the gimmick that was Bring Me the Horizon wore off. They went from being a pedestal for frontman Oli Sykes’ bizarre views and various Drop Dead paraphernalia to one of the most vital bands in British metal at the moment.

How? ‘Sempiternal’.

Their fourth album is undeniably the moment where BMTH came of age. It’s such a clichéd phrase, but it’s obvious Sykes and co. have a found a sound that truly epitomizes where they are as a band on this record. On ‘Antivist’, we have a trademark display of BMTH bile and vitriol, 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 fierce in their breakdowns.


If there’s a British metal band who can translate domestic success in to a worldwide brand, it’s BMTH. Sykes remains the marmite frontman and their back catalogue, augmented by the phenomenal ‘Sempiternal’, is as formidable as any band gracing the dusty Texan venues come March. I was lucky enough to experience the mass carnage that was BMTH’s Reading set this year, where Sykes manipulated the crowd into one of the biggest circle pits I have ever seen. With around 2,000 boozed up teenagers roaring around the tower, I dread to think of the levels of mayhem they will cause in a small venue in Texas. SXSW 2014, look out.


Reading 2013: Day 1 Roundup

By on Wednesday, 4th September 2013 at 2:00 pm

Reading 2009 had me acting at my hedonistic worst, scouting the campsites for (in)eligible girls, sniffing around like some kind of deranged yet voyeuristic puppy on methamphetamines. Humping the legs of any passerby (not literally, but sometimes literally), staying up all night around the campfire making sweet harmonies to Oasis (who I found out had broken up while I was actually singing, post-festival) and getting to the front barriers, only to be disappointed by the diva-esque tantrum-age of Kings of Leon.

In 2013, I found myself holding back bile at the sheer volume of ass hanging from hot pants, avoiding moshpits until my most intoxicated state and all too often feeling like John Murtaugh from the Lethal Weapon films. I was indeed “Too old for this shit” and I’m bloody 21.

Something’s wrong.

Instead of engaging in vapid hedonism then, I ensured that the bands came first and foremost.

Starting Reading 2013 with Dry the River was always going to be relaxing introduction to the vibrancy and colours that Reading Festival had to offer. The problem was that while on record, the music is melodic and toe-tappingly gorgeous, in a live arena Will Harvey’s tones squeaked like rubbing plastic on grilled halloumi cheese. The orchestral backdrop they soar along to sounded out of time, and the performance was left sounding disjointed and a bit ugly. The songs are there and when they get it all pounded down to a tee, then they’ll have a live set capable of moving grown men to tears, as they are definitely capable of the majestic. Just not on Friday… (5/10)

Flame-haired maestros of funkadelia Night Engine took to the NME/BBC Radio 1 Stage after the crowing folkers departed, and while I only caught drips and drabs of their set, they showed enough promise to live up to the NME starlet billing which they have attained with their incredible work ethic. (I also spoke to them later on about pears and other stuff.) (7/10)

Kodaline lived up to the Irish Coldplay billing our editor Mary Chang has labelled them with. I mean, ‘High Hopes’ is quite obviously Coldplay riffage, ripped straight from ‘Fix You’. They’re agreeable, of that there is little doubt and they are going to grow like a caliginous tumour or polyp on your arse. The crowd which swelled, ebbed and flowed out of the expanses of the tent was testament to how big they are going to be and with their puppet-strings tautly around the massive crowd, they manipulated the masses to mimic every word back. (6/10)

After having a screech at Kodaline, the first trek towards the Main Stage was upon my party of misfits. After a brief stop for some questionably foamy Gaymers and unreasonably priced Tuborg, we arrived at nostalgia central, population 15,000 pop-punkers who have in punk Peter Pan style have refused to grow up. New Found Glory took to the stage with an unshockingly shirtless Ian Grushka and whilst they may have a sizable back catalogue to draw from, the audience, bar the veterans of pop-punk, seemed to be largely oblivious to most tracks.

However, when the Reading stalwarts on their eighth pilgrimage to Richfield Avenue dropped the mammoth choral assault of ‘My Friends Over You’, in unison a horde of teens and steadfast fans put their legs together for a pop-punk bop to end them all. (If you don’t want to know what a pop-punk jump is, go here.) (7/10)

Bringing a different kind of movement to the Main Stage were
Bring Me the Horizon, the undisputed best metal band in Britain at the moment, following 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 and placed them gruffly in his hand. ‘Shadow Moses’ was simply spellbinding, and the drop on the song was as ferocious as I’ve seen at Reading in my 5 years I have attended.

Whilst Chelsea Smile proved to be an anthem of epic proportions. Resplendent in the new England shirt, Ollie Sykes was the frontman who everyone at the festival was to beat, as he roared for the Reading crowd to ‘KILL EACHOTHER’. The band were full of energy, and the crowd reciprocated with some of the biggest circle pittage of the weekend. BMTH had set the marker. (9/10)

A marker in theatrical terms was about to be met, with a bit of a throwback to 1992 from Winchester’s finest wordsmith, Frank Turner (pictured at top), formerly of post-hardcore band Million Dead. As he wheeled out onto stage only after recently recovering from severe back trouble, there was a 50/50 mixture of jeers and cheers as Turner’s tribute to Kurt Cobain and their eponymous 1992 set was referenced.

Opening with probably the most fun live song Turner has produced, was the beginner of a barnstorming set that was a cornucopia of singalong-y goodness and while his most recent album ‘Tape Deck Heart’, is easily his deepest cut into Turner’s troubled psyche, every song seems to resonate with a bouncy happiness. The one disappointment of Turner’s near flawless festival set was the inability of the crowd to realise when to leap up on set closer ‘Photosynthesis’. Bar that extraordinary feat of sonic unawareness, Turner cemented himself as a staple of the British festival circuit now set to rise through the ranks, Biffy style. (9/10)

After a quick bevvie break, it was time for some proper nostalgia in the form of
System of a Down. The tunes were all there. Inevitably the band weren’t though. They belted out their propaganda laden tunes one after one in succession, and on stage, guitarist Daron Malakian may as well have just stood there with the vacant expression on his face with a big sign saying ‘cheque please’. To see SOAD in their pomp must have been truly fantastic, but with this lazy reunion, perhaps it’s better that the memories of SOAD remain simply that: memories. (6/10)

Following that were a band who there was no argument that they weren’t interested, came a band who grabbed the entire crowd by the scruff of their necks and shouted a massive “HEEEEEYYYYYOOOOOOO!” We are, of course, speaking of Green Day.

And boy did they say HEEEEEYYYYYOOOOO a lot. Like loads. Starting at just over 4 minutes over the set and continuing throughout the behemoth of a set they played which included a full play-out of their sophomore (what the fuck is a sophomore album) album ‘Dookie’. For a crowd mainly consisting of 16 to 25 year olds, anything from ‘American Idiot’ was greeted with jubilatory cheers, whilst ‘Dookie’ was greeted with a sense of confusion. Barring ‘Basketcase’ of course, this provoked a seething mass of revellers and crowd surfers. Billie Joe Armstrong has this habit of bringing befuddled youths up on stage as well, which whilst providing an unforgettable moment for on youngsters, manages to break up a song and really falls flat when the kid pretty much doesn’t know the words to the song.

Factor into the set a frankly epic rendition of ‘Jesus of Suburbia’ and HEYYYYOOOOOOOs aside, Green Day conquered Reading Festival for the second year running. Congrats boys, now go and write a half decent new record, will you? (8/10)


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).



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There Goes The Fear is where we tell you about the latest music, gigs, and tours we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like no-one's watching.

TGTF was edited by Mary Chang, based in Washington, DC.

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