![]() Jonny Greenwood has done some of his most interesting work scoring films. Whenever I am in a guitar shop I am instantly drawn to the natural finish guitars, the dark mahogany.” Soundtracks I actually have an old ’76 at home and I just love how that guitar looks. “That comes from the old Gibson Les Paul Artisan. We’ve always thought what we could do next to make it better.”Īs you’re growing, your influences naturally broaden. I think we always thought ahead, and thought about what we were doing, rather than just doing the same thing again. “I always think we have been a year ahead of bands who are kind of just seeing what’s cool and then copying it. Even though, of course, Metallica did it years before, we modernised it. Do you know what I mean? Or having strings. He has ideas before anyone else he’ll come up with something and you’ll think that sounds like it’s just going to be mental, like having a choir all chopped up on a CD, but then we did that and then everyone started having choirs on their CDs, the whole metalcore scene - but a year later than us. To Oli’s credit, he’s quite good at that. “I think we’ve been ahead of some of the other bands. That’s kind of crazy, but it’s those sort of ideas that accelerate your progression. It’s like you take a guitar part, it’s then reimagined in a way a hip-hop producer might, then it goes back through you. “It works because my brain thinks like, ‘How would I play that?’ whereas he’ll sit there and chop something up and I’ll figure it out, like, ‘Oh, that’s how I should play that!’ I am not approaching it like a guitar player it’s just sounds, if you know what I mean.” I think we’ve been ahead of some of the other bands. You’ve spoken of Jordan cutting up your riffs and rearranging guitar parts. With Jordan, he can play guitar but he has a whole different approach and when you add it all together it becomes more interesting.” He can’t play guitar but he’ll sing a part. “ never contributed that much before, so it was really just me and Oli. This appetite for experimentation sounds like it was in your DNA from the beginning, but when Jordan came along, how did that change things? Those were explored further on That’s The Spirit (2015), on tracks such as Happy Song, calling to mind a more ethereal take on Faith No More’s Be Aggressive, and in concert, as BMTH took to the stage at the Albert Hall in the company of an orchestra. By 2013, keyboardist Jordan Fish had made his debut on Sempiternal bringing an electronic context to Malia’s riffs that offered new rhythmic and melodic possibilities. In welcoming Skrillex, Canadian singer-songwriter Lights, and a choir onto 2010’s There Is A Hell And I Have Seen It., BMTH’s evolution soon gathered steam. We grew up, but we were doing it through albums Having been rebuffed by metal’s gatekeepers, outgrowing their niche, BMTH’s appetite for iconoclasm showed them a different path. Bring Me The Horizon might have come storming out of Sheffield in the mid-2000s with an of-the-era deathcore sound that saw firebrand frontman Oli Sykes dispensing venom over guitarist Lee Malia’s tempestuous arrangements, but they soon learned that ruling the scene was no triumph when the scene was governed by rules.Īfter all, the most profound creative victories can only be won when they are pursued on your own terms.
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