While much of today’s rock nestles in the cozy nostalgia of the ‘90s and early 2000s, Bring Me The Horizon insists on pushing onward. The UK band emerged from the era of early MySpace, jockeying for attention in a metalcore/deathcore scene intent on breaking all the rules of music and pissing off as many traditionalists as possible. In that, they succeeded. Initial albums like 2006’s Count Your Blessings and 2008’s Suicide Season were absolutely hated by older metalheads… and just about everyone who wasn’t a scene kid.
But two decades later Bring Me The Horizon are one of rock’s most commercially successful bands and one of the genre’s biggest innovators. Over the past five years, they’ve headlined massive festivals like Reading and Leeds, earned two Grammy nominations, and continued to add to their lifetime worldwide sales of over four million albums. They’ve shuffled from metalcore to arena rock to pop and back again, with pit stops at dubstep, ambient, and drum and bass music along the way. They’ve also collaborated with singers of scene bands like Architects and You Me at Six, as well as Halsey and Grimes.
It’s no surprise the outer reaches of their catalog contain some fascinating lost tracks: heavy stuff from the good old days, covers their contemporaries could never pull off, remixes that somehow sound impossibly dated and uncannily on-trend at the same time.
Here we rounded up Bring Me The Horizon’s deep cuts and rarities.
Read more: Every Bring Me The Horizon album ranked
“Who Wants Flowers When They’re Dead? Nobody” (original demo)
Before they were rockstars, Bring Me The Horizon were five kids kicking around Sheffield, doing their best impressions of American metalcore stalwarts like Norma Jean while adorning their first MySpace profiles. This burner appears on the band’s 2004 EP This Is What the Edge of Your Seat Was Made For – their first official release – but it first popped up on their earliest surviving recording, the so-called Bedroom Sessions EP. It’s brutal, it’s raw,but looking back on all they’ve done, it’s a trip to hear Oli Sykes’ screams, Lee Malia’s shredding, and the rest of the band letting loose in their earliest form.
“Eyeless” (Slipknot cover)
In the year 2023, Bring Me The Horizon covering Slipknot might have you thinking, “Oh, of course.” But back in 2006, when BMTH slapped this cover onto a bonus edition of Count Your Blessings, it’s hard to stress how deeply uncool nu metal bands from the late ‘90s felt to most teenage scene kids (spending $200 on vintage Slipknot merch was very much not a thing in 2006). But this is of many cases of BMTH being way ahead of the curve. Their deathcore take on “Eyeless” is faithful enough to the 1999 original to show some good-natured admiration, and innovative enough to make it interesting.
“The Sadness Will Never End” (Skrillex remix)
Here’s another case of Bring Me Horizon predicting the future: in 2009, Sonny Moore was only two years removed from screaming in the post-hardcore band From First to Last. He’d barely released any music as Skrillex, and dubstep was still underground – hardly anyone besides electronic music heads knew what the genre was. Yet BMTH unleashed Skrillex on their Suicide Season remix album, and the results are everything you’d hope for: a killer beat drop, and surge after surge of catchy electronic chaos.
“Chelsea Smile” (KC Blitz remix)
While we’re still reveling in 2009, here’s “Chelsea Smile,” the signature song of aughts-era Bring Me The Horizon, remixed for maximum nostalgic response at both emo night and your next indie sleaze party
2013’s Sempiternal marked the peak of Bring Me The Horizon’s popularity during their heavy days before fully moving into arena rock territory. Sparse and brooding like a lonely early morning drive, this Sempiternal B-side feels like a voyage out of an era.
“Join the Club”
Another lost track from Sempiternal, “Join the Club” is much more in Bring Me The Horizon’s early 2010s sweet spot: gnarly and aggressive, with a penchant for dramatics (Sykes quotes both Alkaline Trio and Fifty Shades of Grey). Malia’s guitarwork and drummer Matt Nicholls answer the call, and Bring Me The Horizon sounds ready for far bigger stages than Warped Tour.
“Don’t Look Down” ft. Orifice Vulgatron
Truly a lost artifact, “Don’t Look Down” surfaced in 2014, in between Bring Me The Horizon album cycles, as part of a rescored soundtrack for the Ryan Gosling thriller Drive. It currently does not appear on the band’s official streaming channels, and sparked a polarizing enough response upon release to inspire a paragraph-long explainer from the band (“We appreciate the level of passion both good and bad…”) As advertised, it’s quite interesting. BMTH crafted the song alongside Orifice Vulgatron, vocalist of the London dubstep/hip-hop group Foreign Beggars, giving it a skittering, electronic underbelly beneath the band’s usual screaming and crushing guitars. If you’ve enjoyed BMTH’s past decade of genre experimentalism, there’s a good chance you’ll find something to dig into here.
“Drone Bomb Me” (Anohni cover)
Here’s a moment where Bring Me The Horizon really proved the depth of their musical awareness. Visiting New York’s Spotify Studios in 2019, BMTH recorded a cover of Anohni’s “Drone Bomb Me,” an experimental pop song with a radical message, from an artist completely outside their realm (Anohni, a transgender artist, has been critically acclaimed since the early ‘00s for her work in chamber pop, orchestral music, and disco; “Drone Bomb Me” is sung from the perspective of a young Middle Eastern girl who has lost her parents to an American attack.) Rather than just cranking out a cover of some current Top 40 song and calling it a day, Bring Me The Horizon presented Anohni’s music and message to a completely new audience.
“When the Party’s Over” (Billie Eilish cover)
When Bring Me The Horizon does take on a song from a huge Top 40 artist, they absolutely make it count. Synchronized singing! Those five-part harmonies! Your favorite 2000s post-hardcore band could never. One of the best cover performances of recent years, full stop.
“Mood” (24kGoldn ft. iann dior cover)
Just because Bring Me The Horizon hasn’t performed “Chelsea Smile” in years doesn’t mean they still don’t have a little metalcore in them, even when it comes to covering pop songs in fancy studios. The breakdown written into the “Mood” finale is a big ol’ nod to anyone who’s been following the band since the early days. When Sykes growls, “I won’t be your victim!” It’s a piercing reminder of the brutality deep in Bring Me The Horizon’s DNA