Read our first impression Bring Me The Horizon’s ‘There Is A Hell, Believe Me I’ve Seen It. There Is A Heaven, Let’s Keep It A Secret’ review, track by track!

Crucify Me – A six minute plus opus that includes off-kilter, uplifting keyboards, auto-tuned female vocals that chant the title of the album, nitro-thruster pace and an avalanche of riffing. On the lyrical front, it’s far more introspective than anything the band have put their name on to date. The refrain of “prey for the dead” is destined to be screamed by every Horizon fan in the future. The female acoustic outro (we’re not sure if it’s Lights or not) is an incredible ending to this epic opening track. BMTH in progressive shocker? You had better believe it!

Anthem – Thumping snare-drums and a muted guitar give way to the massive chorus of Anthem. Like water bursting through a dam, this one flies out of the traps. The hack and slash fret-work on the verses verges on being furious punk rock and the refrain of “I hate to tell you so but I fucking told you so” is spat with venom from the back of Oli Sykes’ teeth. A major beatdown in the middle of the track is only bettered by the last 20 seconds of the track where the riff is slowed down to the point where it sounds like it could be one of the lumbering, “head-bang motherfucker” moments from Machine Head.

It Never Ends – Thunderous fretwork over the top of luscious keyboard strings again give way to a full-throttle burst of pace. A virtually spoken word verse and a female choir are used before Oli Sykes gives way to one of the best choruses of his career to date. Thunderous, floor-shaking beating and double-bass pedal rolls from Matt Nicholls combine to create the feeling that Rhinos are steamrollering across your chest. The throat-shredding “it never ends!” for the last portion of the track is devastating.

Fuck – The heavily-anticipated duet with Josh Franceschi from You Me At Six. If the title doesn’t give it away, this is a brutal affair. Crunching, fat riffing, a relentless attack of heaviness and the real first sign of the more metal influences brought to the table by former I Killed The Prom Queen axeman Jonah Weinhofen are also evident. The vocal interplay between Sykes and Francis is subtle at first but halfway through the track Josh’s melodic edge over the top of the apocalyptic guitars that Horizon have made their trademark takes the band to amazing new heights. When Sykes unleashes his screams underneath the melody, this is a moment for all BMTH fans to get excited as shit about. An amazing track.

Don’t Go – Opening with restrained violins, a tranquil picked guitar line and military snare drums, Don’t Go is perhaps the most inventive moment on the album. Almost spoken word shouting from Sykes about his problems growing up as a youngster hit home hard. Building as the track moves along, Lights provides a beautiful lead vocal. It’s the perfect follow-up to Oli’s autobiographical heart-bleeding and then there’s the first massive guitar hero moment we’ve ever had from Horizon. It’s a lead-line of Slash standing outside the Church in November Rain size before massive power-chords crash in and both Oli and Lights intertwine their vocal harmonies. It’s two very different worlds combining perfectly in a beauty and the beast style moment.

Home Sweet Hole – One of the more traditional BMTH sounding moments, it’s a pit-raging anthem that is sure to be a major hit live. Fat guitars and a major gang vocal in the chorus that echoes Agnostic Front, HSH may not have the boundary-pushing feel that the majority of the record but in terms of baring its teeth and getting downright nasty, it takes some beating.

Alligator Blood – A colossal riff ushers in Alligator Blood before giving way to the killer lyric “let’s play a game of Russian roulette, I’ll hold the gun and you place your bet, tell me who wins, make it out alive”. Straight-up punishing hardcore that echoes the latest Parkway Drive album in its feel, it’s at this point it really notices how fucking brutal the album has been up to this point. Much faster than Suicide Season and with far more dimensions, it’s the sound of a band really stepping up to the plate and proving their worth. This tune is all-out, top-quality beatdowns and pounding guitar work and the riff in the final minute of the track drips in swag juice. It’s not big nor clever but it fucking rules.

Visions – Changing rhythms throughout and with killer gang vocal parts all over it, ‘Visions’ is a flurry of riffs and its “come on come on! Get up, get up!” vocal is going to cause riots in the pits at future Horizon shows. A humongous sonic boom moment halfway through crushes and the electronic element put on the guitar riffs at various points are yet another example of Horizon seeing what’s possible with modern technology and upping the game for what’s possible amongst modern metal bands.

Blacklist – The riff swells with muted effects before bursting into a doomy, grimy, filthy riff with Sykes straddles the beat like a fucking rapper without adjusting his style whatsoever. If dubstep was able to be portrayed in a metal fashion, this would be it. Nasty, heavy and ready for a dust up, Blacklist is one of the sludgiest tracks on the record but without doubt one of the highlights. Nicholls footwork on the track is incredible and makes the track one of the most gangsta, danceable tracks you’ll hear all year. Epic.

Memorial – A three minute track of ambient keyboards accompanied by a hushed, melancholic guitar line sitting in the background with electronic drums delicately tapping away in the background. It’s almost welcome after the all-out war that’s gone before it!

Blessed With A Curse – With the previous instrumental bleeding into this, a minimal bassline and Pink Floyd-esque shimmering guitar sound takes over. Nice hi-hat work and thumping bass drum joins to give the track an almost dance feel. Similar to Devil Sold His Soul and While She Sleeps, Blessed With A Curse is ambient metal that verges on prog, builds expertly in a way you would never have associated with BMTH in the past and features some truly breathtaking guitar noodling and a six-string break down that recalls the Floyd and, dare it be said, Dire Straits and The Moody Blues. Again, the band are pushing themselves in a way that all bands should look up to.

The Fox and The Wolf – Under two minutes long, The Fox and The Wolf is the most brutal track on the album. Break-neck, face-melting speed, no-frills hardcore vocal lines and absolutely no messing about in the power stakes. A powerful beatdown to finish off but this is no-nonsense shit and BMTH blowing off steam like a screaming kettle after spending the best part of the past 45 minutes stretching the boundaries of what their band are capable of. Prepare to be shocked, surprised and delighted in equal measures when this bad boy drops in October.