Bring Me The Horizon: Ranking Every Album Worst To Best

You’d struggle to find a band from the post-hardcore era who are more innovative than Bring Me The Horizon. The Sheffield outfit have released seven studio albums since 2006 and no two records sound the same, or even particularly similar, for that matter.

From deathcore to alt-rock, from electronica to pop, BMTH really do love to get experimental when it comes to their writing. Some of these experiments have been absolutely great, others… not so much. However, the highs definitely outweigh the lows. Whilst none of their weaker albums are just outright bad, some of their best work is simply world-class.

Starting off playing to small basements full of scene-kids in the mid-noughties, Bring Me now tour arenas with their music, suggesting that their innovation successfully brings in more fans with each album, whilst keeping a hold of those loyal to the songs that came before.

With the recent release of their latest record, Post Human: Survival Horror, it’s as good a time as any to have a look at how these incredibly diverse records measure up against each other.

Who will win, spin-kicks or glowsticks? Only one can take the throne.

In 2019 it seemed that BMTH had gone completely off the deep end when it came to diversifying their musical style. Whilst innovation should be applauded, and most of this article will attest to that, the band’s sixth studio album, Amo, went a little too far.

Despite their many different sounds, BMTH were always a rock band, in some form or another. In anticipation of Amo, their first single from the record, Mantra, was released. This song had a killer riff, a catchy chorus and even a bit of screaming. Great, fans thought, until they picked up the full album to discover that BMTH had become a pop group.

Most of this new album wouldn’t have sounded out of place on Capital, between tracks from the likes of Twenty-One Pilots and Billie Eilish. It was a far cry from the norm for a band previously known for songs such as Pray for Plagues and Off the Heezay.

The reception from fans was poor, to say the least. They may have been able to adjust to change, but they weren’t quite ready for chart music. Given the band released a return-to-form album in the following year, it’s likely they too realised that Amo was, in the nicest way possible, a bit naff.