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Bleeding Through Frontman Laments The ‘Bring Me The Horizon Effect’, Says “Bands Have Discovered How To Polish A Turd”


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Bleeding Through frontman Brandan Schieppati has already been blunt with his opinions while promoting the band’s return with their new album, “Love Will Kill All“. In a new interview with ‘Jon’s Untitled Podcast‘ (hear it below,) Schieppati lamented the current trends of the heavy music scene, which he in part described as the ‘Bring Me The Horizon effect.’ He also went on to explain why he felt the need for Bleeding Through to return [transcribed by Theprp.com]:

“As a whole I try to listen to as much as I possibly can with like new bands and stuff like that. There’s a lot of cool newer bands coming out, but what I really kinda paid attention to was a lot of the older bands and the absolute shit they were fucking releasing. It’s kind of like one of those things where I was super disappointed as a fan and I think that’s one of the things that motivated me to want to start writing some music again.”

He continued:

“I think in the last four or five years what you’re really getting is the “Bring Me The Horizon effect. You see a band that started off as a very crappy metalcore band, and found themselves later on in what they did. It’s kind of led me to believe that maybe the metalcore/death metal crossover thing they were doing wasn’t really them to begin with. But lately, I mean their [Bring Me The Horizon‘s] last two records to me are some of the best that have come out from the genre-ish in a long time.

But you see that and you see with that popularity you automatically see bands that try to copy that sound and that kind of approach. And with that you have bands like Architects & While She Sleeps—which I also really like, that kind of carry that torch of that kind of vibe.

And what I’ve kind of noticed is that’s sort of the music that’s coming up right now. That kind of djentcore-ish, techy type of deal with that scream-sing sound, with the catchy hooks.

There’s that, and then I’ve also noticed in the last four years that bands that don’t kind of sound like Bring Me The Horizon; every other band sounds like Emmure with A Day To Remember chorus.

And every record sounds exactly the same, sonically drums sound the same, guitars sound the same, structures is the same, every song is three minutes and fifteen seconds. It’s a carbon copy of the same noise coming out of a record.

I’m not saying noise like it’s a bad thing. But what I’m saying is that there’s no rawness to a record anymore. Bands have discovered how to polish a turd and they do it very well.

And then when you go to see these bands like you’re like ‘fuck, these dudes don’t even know how to play their instruments.’ This is fucking crazy, oh, its like one of those things where every record is horribly autotuned with the vocals.

And it takes all the realness out of a record. And I just think that that’s like the new norm, is to try to be as perfect as you can. Which kind of leads me to that Bring Me The Horizon effect, because their records are just perfect.

But everybody just tries to copy them. Because labels know what sound sells and bands know how to get that sound… That’s kind of what I’ve observed over the last few years is that there is some cool bands, but everything sounds exactly the same when it comes to recording and that’s kind of weird to me.”

Recent years have seen a return of bands from the heavy music scene who helped spearhead the early/mid-2000s heavy music scene and Schieppati feels there’s a reason for that, offering:

“I’m not trying to be like that salty old guy, because sometimes I kind of come across that way. What I’ve noticed is just that… There’s a reason why Atreyu…, there’s a reason why Walls Of Jericho is playing shows again, there’s a reason why Misery Signals has come back, there’s a reason why Dead To Fall has come back.

It’s because we’re not satisfied with what is coming out now. And the only way that we’re gonna be satisfied is if we do it our fucking selves again. And maybe we didn’t leave in such a good spot, you know what I mean?

And there’s multiple reasons. Because of what I said, I think that there’s a lot more label involvement, management involvement where bands don’t have to create their own identity now, someone else does it for them.

And when we had to come up, we had to create our own identity. I mean fuck, when I was in Eighteen Visions, the first time we went to the East Coast people were just calling us f****ts the whole time, on stage. And next time we came back everybody looked exactly like us. And it was because that was our thing.

And the same thing happened with Bleeding Through. We got scrutinized at first for always wearing makeup and shit. Next week we came back and the whole crowd looked exactly like us.

People were onto something back then because people had to be original thinkers to stick out. Now there’s a team behind it, trying to create, trying to take what other people have done and just expand upon it. And I just think that that’s the wrong way to do it.

And I feel like that’s why now you have a genre full of copycats and that’s really how it is. Like ‘Oh our first record didn’t sell, so this record we sound kind of like this and we had Will Putney mix the record, because he fucking mixes everybody’s record.’ It’s one of those things. It’s cool and all.

I kind of started noticing that in like 2010 when were started taking bands on tour with us. And I’d be like ‘these bands are fucking great,’ ’cause they all have their own sound and shit.

I remember when I got around listening to all their new records, I’m like ‘all of these records sound the same and none of them sound live how they sound on this record.’ To me, I always thought a band should be able to play the same way they are on record, if not play it better.

And I always thought that Bleeding Through—I mean I could be wrong but—I always thought that Bleeding Through did a really good job playing our stuff live. I think a lot of the stuff that we did live came out better in general. I think it added a sort of rawness to it.

And now on the flip side you have these same bands that have these processed, over-produced sounding record that got up onstage and can’t pull it, and then they start bitching about people never going to shows anymore.

And then they start bitching about bands like ‘I don’t get it, why is Code Orange big?’ Code Orange is big because their record sounds like shit and it’s raw, but it’s fucking awesome and live they go fucking nuts—that’s why they’re big. Because people want a fucking show…

People still want to see good live music and be entertained. Maybe the younger crowd is cool with just standing there because they’ve become accustomed to hearing records with autotuned vocals and perfection and this and that. But, I guess I’m old school, and like I said I’m gonna come across a little bit bitter, but I do kind of feel like these older bands had to come back and be like ‘guys, this is how it’s supposed to be fucking done. And lets fucking preserve what all of us have work, you collectively, but all of us have worked to build.’

Because in 2003, 2004, 2005, 2006—that was the oasis of heavy music. Because of ‘Ozzfest‘, because of bands like Bleeding Through and Atreyu and As I Lay Dying and stuff like that, and Every Time I Die and bands that were individuals. But also there was something to sell, because we were individuals. And now it’s just oversaturation with no individuality.”

Schieppati further condemned certain trends in the music industry, stating that Motionless In White were unable to play shows with Bleeding Through because “their management wouldn’t allow them to.” According to Schieppati:

“Their management wanted them to be perceived as a bigger band than Bleeding Through so they wouldn’t allow them to play underneath us. How fucking stupid is that?”

Love Will Kill All” will be released on May 25th through SharpTone Records. In other news, a new studio video for the album debuted today via Revolver and is available below.

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