Hello again!

Today we will talk about the album, which caused a huge resonance among all music lovers and fans of various music for the simple reason that this album can be safely called the most controversial and provoking polar opinions. In other words, if to speak briefly, then you will either like the album in and out, or you will spit on it for a very, very long time. As for me, I cannot say that I am pleased with the transformations in this group that were presented in this album. Personally, I think that this release is the weakest in the group’s discography, and not because it is much lighter in sound and not because it is as much radio-friendly as possible. All because of some other reasons, which I will try to describe below.

This time – this is Bring Me The Horizon – more than famous British metal band, which soon began to play alt-rock, and in this album, began to play alt-pop along with it. Speaking frankly, I always considered BMTH an example of a “correct heaviness decrease”, which does not appear instantly and from nowhere, on the contrary – it was done competently and without losing the creative personality of the group. And frankly, this approach is illustrated by all previous albums, even by the release of “That’s The Spirit”, which also received a rather ambiguous reaction from critics and listeners, but personally I quite liked it despite its weak sides.

It seemed to me that from the moment the singles MANTRA  and wonderful life were released, the guys would be introducing a new release called amo, that will be more like That’s the Spirit 2, which will be alt-rock, with synthesized instrumentals and sugary singing, flavored with kilograms of autotune. In this regard, it seemed to me that this release would be more stagnant than driving the band in a particular creative direction. I was mistaken, the movement was, and this movement, in my opinion, was aimed at being fully pop, light and compliant with trends that guarantee popularity today.

Briefly about album’s cover art and concept. Cover is stylish and really serves as the most original piece of creative content that is contained in this album. The title, in the literal translation of “I love”, serves as a reference to the fact that the themes of love-romantic relationships and interactions pervade absolutely all of his tracks. Looking ahead, this is not entirely true. Let’s start with the fact that the themes of skillfully veiled fake-deep sadness, depressions and anxieties caused by incorrect or toxic relationships didn’t really go anywhere in the music of BMTH since the album There is a Hell Believe me I’ve seen it. There is a heaven, let’s keep it a secret. Therefore, if we take it for good, then the conceptual framework is not particularly far gone, unless it began to provide us with references to the divorce of vocalist Oliver Sykes.

I’m immediately moving to the text of the album because it represents the relatively strong and relatively original side of the whole album. In fact, the emphasis on additionally facilitated emotionality and melancholy is really more present here than in previous releases because in them, these motifs were combined with either aggressive or with the text of despair and hopelessness, which in general worked more than successfully. That is why I personally remember the text on the old tracks It Never Ends, Blessed with a curse, Sleepwalking, Avalanche and others for the simple reason that they really resonated with my feelings and emotions. I am sure that other listeners had a similar feeling regarding the texts.

Now, the text of the album in most cases directly or indirectly refers to Sykes’ divorce, which is as tragic as it causes some bewilderment. Of course, we are not going to discuss other people’s everyday problems here, but, personally, in my opinion, it was not worth devoting a good half of the album to the theme of cheating and divorce – one track would be enough, and much more veiled and detached so that it would have less biography, and more creativity. The second half is absolutely randomized and inconsistent. For example, the text itself of the tracks MANTRA, wonderful life, nihilist blues, heavy metal and others is more than interesting, if we take them separately. But, how to connect the themes of mass-following in the track MANTRA, the approaching midlife crisis in wonderful life and some mockery of the metal audience BMTH in the track heavy metal does not quite seem to me possible. Moreover, to bring them all under the line of love and relationships also fails in any way. As a result, half of the album is reflection on Sykes’s divorce, the second half is random. In my opinion, it would be better to somehow structure and present better even such diverse topics, or at least somehow bring them under the common denominator of human relations. It seems to me that even the inclusion of some skits would work in this regard successfully. Nevertheless, we have what we have.

Musically, we have a hodgepodge of everything that can be imagined, and this is far from benefiting the album as a whole. This album repeats the latest release of 30STM “America”, which also in its content had a couple of good tracks mixed with gray-gray alt-pop. And don’t get me wrong, the album sounds more than pleasantly and there were no special complaints about it if it hadn’t been marked with BMTH, because it’s this brand that spoils the whole impression. So essentially. From track to track we have jumps from synth tracks that border between the stereotypical EDM of the early 2000s and common sense. We have rare inclusions of an overdriven guitar in the tracks in the dark, wonderful life and, of course, MANTRA. In the synth-pop tracks, we again have a minimum of consistency and even less originality. The first track i apologize… sounds like the stereotypical liquid-EDM of the early years of the Pirate Station, nihilist blues has vocals by Oli Sykes, who are twisted with effects and pitch-shift to such an extent that it began to sound like Pendulum. The inclusion of Grimes and Dani Filth again did not contribute to the special diversity and originality of the tracks, since they simply did not sound in their usual manner and performed a full balancing function opposing Sykes’s vocals. Plus, as I mentioned on a recent stream, the main riff of the wonderful life track sounds almost 1-in-1 with the Gojira’s Cell, and the Grimes vocals sound very much like Amy Lee’s part in Evanescence’s Never Go Back. Too many such stylistic coincidences, which again can be considered unintentional, but in the end music content cannot be called original or memorable either.

The interlude ouch again sounds like a distant greeting from the Pirate Station of 2000s with an emotional, but completely impersonal sound that someone like Netsky or bands like High Contrast or London Elektricity could deliver better. Next, the pop track medicine, which again sounds like it was composed by The Chainsmokers. And the apogee of the whole trend-focused sound in the album is the track why you gotta kick me when I’m down with TRIPLET VOCAL lines! Seriously, I could not in any way assume that one day the BMTH would sing triplets with autotune on a trap beat. Further, mother tongue = late Coldplay, heavy metal = Linkin Park after the Meteora, and so you can, if you wish, guess and point out some borrowings in the music of BMTH. I lacked one thing in this regard. At least one track where BMTH itself would sound even at the level of the album “That’s The Spirit”, after all, nothing close to tracks like Throne or even Drown was provided to us.

As a result, one can sip through each other’s throats about who likes and who does not like the new BMTH album, but personally I can safely say one thing – the album offers really great listening experience, it will take all the rotations on the radio and the massive incomes from many listeners , but personally I would like to hear at least one track of BMTH that made them popular in each of the previous albums. And I’m not talking about heaviness, I’m talking about authenticity, because you can listen to trap from more skillful artists, you can hear pop from better vocalists and songwriters, and EDM can be heard from much more solid and experienced producers. I doubt that the guys coped with adequately delivering the above-mentioned genres at the proper modern level, exchanging their original creative personality for this.

Let’s see what will happen next, but for me personally, amo is the weakest work of the group so far. 2 of 5.

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