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thesinglesjukebox · 5 years

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BRING ME THE HORIZON - MEDICINE

[3.88]

Doesn't go down easy...

Joshua Copperman: FOR IMMEDIATE RELEASE: Celebrating the 13th anniversary of Three Days Grace's One-X, the band presents a 2019 remix of "Never Too Late" by Greg Kurstin, reworked with unused verses from the band's earlier single "I Hate Everything About You." With gems like "Some people are a lot like clouds you know/'cause life's so much brighter when they go" and the not-at-all-confusing "I can't save you from yourself/when all you give a shit about is everybody else" fans will discover everything they loved about Three Days Grace, but updated for a new era. TDG is set to go on tour this summer with Breathe Carolina (performing "Blackout" 8 times) and Cobra Starship (exclusively performing "Good Girls Go Bad" 7 times, with "You Make Me Feel..." in the middle, "It's Not Unusual" style.) They will all be opening for PVRIS, who one writer for the Singles Jukebox proclaims "makes the prospect of a pop Bring Me The Horizon mostly redundant." [6]

Joshua Minsoo Kim: Bring Me The Horizon's shift towards straight-ahead pop rock isn't terribly surprising given the terminal state of 2000s-style metalcore and the pop sensibility they showcased on "The Sadness Will Never End," "Fuck," and the entirety of their last two albums. The whiny tone and aggressively clichéd lyrics allow this to feel like emo-adjacent pop punk for The Chainsmokers generation (that pre-chorus instinctively has me singing "Closer" before Oli's vocals come in) but the song spends too much time stewing in its emotions without letting it be the in-your-face melodrama that it needs to be. Music like this has to sell its angst in the most visceral of manners. If it doesn't, it just sounds embarrassingly tepid and awkwardly juvenile. [3]

Will Adams: That the hilarious opening line about clouds gets repeated twice more -- at the start of the second verse and as the last words of the song -- takes this from embarrassing to fascinating. Still, there's a lot of mileage to be found in emo that has a bright pop-rock sheen, hooks galore and a vocalist who's up to the challenge. Put another way, songs like this are much easier to enjoy when they're not by The Chainsmokers. [7]

Thomas Inskeep: Aren't BMTH supposed to be making aggressive, angsty emo? Because "Medicine" sounds like a barely-angrier Maroon 5 or something, with its wimpy a) synth drums b) vocals c) production d) all of the fucking above. This is Kidz Bop emo, and BMTH should be ashamed. [2]

Katherine St Asaph: I have listened to too many Digital Daggers songs to dislike this, although it'd be better by them. Or (RIP) Cherri Bomb, or Pvris (or, RIP, Paramore when they still sounded like that), or hell, even Halsey or P!nk. [6]

Ian Mathers: From that dumbass opening line about clouds, this isn't deep enough to be worth the time it takes to parse it out, but the general impression is of one of those series of accusations that rings just false/self-serving enough to wonder what the other side of the story is like. Also it would have taken anyone involved about two seconds of reflection to realize that "can't see the thunder for the storm" should be "hear" instead, c'mon. [1]

Iris Xie: This is one of those songs that gives me a lot of pain as a pop music reviewer, if only because it is so middle of the road and inoffensive. The hook is too easy and comfortable to remember to the point of being both listenable and forgettable, and I don't particularly enjoy it, but I can admit it's "good"... because it's not bad? Pretty mediocre, actually. Also, the arrangement is so reliable to the point where I am dulled through familiarity, with the instruments being turned on and off at the right time and contrasting with the emotionality of the voice. The best place for me to listen to this is while I'm shopping for clothes, and then my ear catches on a few words and I listen more closely, and I go, "mm, ew." [2]

Tim de Reuse: I'm a fan of the ultra-sleek trappings, to an extent; it's a lot, but it's got the production punch to match its ambition (unlike, say, Imagine Dragons, who often aim for this kind of primary-colored exuberance and nearly always end up with something sickly and malformed). What this instrumental needed, then, was something memorable and catchy and clever to yell along to -- what it ended up with on that front is nasally and predictable. [4]

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