Suicide Season is an album that wrenched a gorge in the heart of what people assumed were the boundaries of Metalcore. However, in the habitual voluptuous style of Sheffield’s finest, Oli Sykes and his crew of dangerous musicians handed this release over to fourteen of today’s most illustrious, renound and most underground DJ’s. The emanation is bewildering: An album that metamorphoses’ the turbulent blockade of BMTH’s sound into a mix of Dub Step, House, Electro and Techno. Even the most manipulated tunes still have that rudimentary brutal feel to them, turning mosh jam outs into dance floor hitters. These remix’s were made with a sparkle in the eye.
‘RobotSonics’ do a delightful job of firing up the album with a lavish helping of House, turning “The Comedown” into an idiosyncratic mind trip. This rave feel is persistent throughout the release, making it something that could quite easily be played at a party with no complaints. Another salient sound landscape is the sagacious combination of Dub and anthem sounds, most striking on the track “Suicide Season” (Secret Handshake Remix). With Sykes vocals crushed down to make the core beat for the tracks genesis, Luis Debuc then erects the pitch to bring sounds that would be accommodated on dance floors worldwide.
There is a predetermination that most dance music sounds the same, and that no one seems to be doing anything divergent: However, this anthology of remixes could not rupture the axiom more. Standing out from beyond the rest is ‘Tek-One’s’ remix of “Sleep with one eye open”. Whether it’s because Tek-One use a live drummer, or whether it’s the sudden accelerated shift in genres, this song is adequately the most omnipotent on the record. The pleasing piano influx chaperon’s the listener gently to climax, where a shock of staunch electro rhythms is discharged down into the thoughts of those who choose to listen.
BMTH, at live shows, have gingerly used certain tracks of this album to fill time amid songs. Experiencing this first hand, the horde hurriedly changed from a mosh to a rave, imprinting a sweat soaked smile across everyone’s face. Descending the heavy bass line of “Football Season is over” into any environment or context: Gig, DJ set, club or venue: can only have ravaging affects on those trying to keep the mob under control. Although seldom used, these songs in the live set add a change of rate and something, just, different, to one of Britain’s most astounding current and blossoming bands.
The reason this album has glided to such consummation is due to its accessibility for all those open minded enough to roam away from the rudimental BMTH sound. It’s also exalted with the capability to show those who disapprove of such metal genres just how assorted and worth while the genres are. Cabaret Voltaire residents the ‘Utah Saints’ succeed in altering a song written allegedly about suicide into something implausibly sanguine! In the astute words of Oli Sykes, there is only one way to describe the vibes of this production: “Party till you pass out, drink till your dead, dance all night till you can’t feel your legs”.