Last year, the release of “Drown” saw Bring Me The Horizon offer up a taste of where their music might head in the future. Now, more than a year later, they’ve confirmed their transition from hard-core rock giants to rock ‘n’ roll, alternative style newbies via their latest album “That’s The Spirit.”
The synth-led musicianship of “Doomed” kicks things off, and what with little else playing for close to a minute, it doesn’t make for the best of starts. However, when front-man Oli starts to sing, things drastically improve thanks to his gritty vocal, a story of someone close to breaking point, and the lyrics which he delivers with an almost undeniable power.
“Happy Song” meanwhile is slightly more upbeat, if such a term can ever be applied to a band such as BMTH, and although Skyes’ screams, which have over the years become almost as much of a trademark to him as his tattoos, are absent, his replacing them with a strong wail will no doubt keep those listeners waiting for him to pierce their eardrums happy enough. “Throne” struggles to offer up the same excitement, but a lull on any album is expected so it’s not that big of a deal.
The band have never been one to receive regular airplay other than on programmes such as late night rock shows, but that may yet change should they release “True Friends” as a future single. The chorus cries out for the masses to sing along while the instrumentation is slick, sharp and dare I say it, impressively fun and well put together.
No-one would have ever expected to find something representing a love song on an album like this, so maybe that’s why they’ve chosen, rather bravely, to include one. Titled “Follow You”, it begins with a heartbeat and gradually builds itself up combining powerful lyrics such as “You can drag me through hell if you let me hold your hand” with a hand-clap sure to echo around venues everywhere the next time the group hit the road and if they also perform “What You Need”, everyone who attends their shows are, for a while at least, going to have a bloody good time, although solo listeners can also thoroughly enjoy it thanks to a thumping chorus.
“Avalanche” brings with it a look at the bands’ more vulnerable, emotive side, despite it ultimately being a cracking rock song, and having it run straight into, ironically enough, a track called “Run” means the energy never seems to let up.
Next comes a newly recorded version of “Drown” which doesn’t exactly offer up anything new and so it is left to closing numbers “Blasphemy” powered by absolutely thundering drums, and notably “Oh No” which, after running the usual guitar/drum gauntlet, adds the rare inclusion of a saxophone – yes, really – to end the album on a surprising, intriguing note.