Artist

Bring Me the Horizon

Sheffield, United Kingdom • Formed 2004

Bring Me the Horizon is a music group from Sheffield, United Kingdom, active since 2004. Their discography on Gatefold includes 18 records.

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Albums tracked

121

In collections

2004

Since

Biography

Bring Me the Horizon is a British metalcore/pop rock/electronic band formed in Sheffield, England, in 2004. The group currently consists of lead vocalist Oli Sykes, drummer Matt Nicholls, guitarist Lee Malia, and bassist Matt Kean. They are signed to RCA Records globally and to Columbia Records in the United States. The band released its debut album "Count Your Blessings" in 2006. The album featured a deathcore style that received mixed reactions and generally unfavorable reviews from critics.

The Arc of Bring Me the Horizon

The pivots — what forced Bring Me the Horizon to reinvent.

The Deathcore Purge
By the time they hit 'Suicide Season' in 2008, the band was done with the blast-beat-only diet of the debut. They brought in Fredrik Nordström at Studio Fredman in Sweden, the architect of that melodic Gothenburg death metal sound, to tighten the chaos into something rhythmic. You can hear the change in the title track, where the atmosphere starts to take up as much room as the breakdowns. It was the last time they'd let themselves be defined by a single subgenre before the experimentation took over for good.
The Jordan Fish Integration
Everything changed when keyboardist Jordan Fish joined for the 'Sempiternal' sessions at Angelic Studios. He brought a digital precision that forced the rest of the band to think about structure and melody rather than just the next mosh part. The result was a record that sounded like Linkin Park's 'Meteora' updated for a much meaner generation. It was the pivot point where they realized they could be the biggest rock band in the world if they stopped trying to prove how 'metal' they were.
The Pop-Metal Collision
The jump to 'That’s The Spirit' and 'amo' saw them leaning into the polished production of big-budget pop, working with engineers who knew how to make a snare hit like a Top 40 record. They started collaborating with Grimes and eventually Ed Sheeran, proving that the riffs could survive a radio edit. It wasn't about selling out so much as it was about being bored with the limitations of the heavy scene. They traded the screaming for choruses that could fill Wembley, and the gamble actually worked.

Influences

At The Gates — Lee Malia has gone on record saying 'Slaughter of the Soul' was the blueprint for their early guitar work. You hear those specific Swedish melodic death metal intervals all over 'Count Your Blessings' and 'Suicide Season'. It’s the foundational DNA of their riff construction.
Linkin Park — Oli Sykes has cited 'Hybrid Theory' as the reason he wanted to be in a band in the first place, and they even performed at the Chester Bennington memorial show. The influence is obvious in the way they bridge the gap between heavy aggression and electronic pop hooks. It’s the same obsession with genre-blind songwriting.
Glassjaw — The band has repeatedly shouted out Daryl Palumbo’s crew as a massive influence on their more erratic, post-hardcore tendencies. You hear it in the frantic vocal delivery and the way they use tension and release in the mid-tempo tracks. They took the 'Worship and Tribute' chaos and scaled it up for arenas.
The Prodigy — The dance-punk energy and heavy synth-grit of Liam Howlett is all over their later electronic pivots. They’ve referenced the group as a key inspiration for making electronic music that still feels aggressive and dangerous. It's the 'Fat of the Land' swagger translated into a metal context.
Pantera — Hiring producer Terry Date for 'Sempiternal' was a deliberate move to capture the massive, dry drum sound and groove-heavy production he pioneered on 'Far Beyond Driven'. They wanted that specific American power-groove to ground their increasing use of synths. It gave the record a weight that their earlier UK peers couldn't touch.