Parasite Eve:  A New-Age Experience

Parasite Eve: A New-Age Experience

“When we forget the infection, will we remember the lesson? If the suspense doesn't kill you, something else will.”

Bring Me The Horizon - Parasite Eve

Transformations:

We’ve come a long way from the polarizing deathcore band from 2004. In fact, we’ve honestly come a long way from the internationally renown, Grammy-nominated BMTH from 2019. Through the years the band’s sound has changed drastically, straying away from heavy screams, punishing breakdowns, and dark chords in favor of electronic samples and more pop-rock hooks. While some earlier fans might be put off by the evolution of their sound, I feel that their recent music is a more palatable experience for new listeners. One that might even encourage a backwards look through the catalog from fans who crave more. I’m not sure someone who enjoyed “Mother Tongue” from Amo would travel back to experience “The Comedown” from Suicide Season, but it might point them in the direction of “It Never Ends” from There is a Hell

Parasite Eve:

Upon first listen, Parasite Eve is abrasive, aggressive, and alarming. The opening sample is actually from the Bulgarian State Television Female Vocal Choir’s rendition of “Ergen Deda”, a traditional Bulgarian folk melody. Although it has been synthesized, saturated, and enhanced for Parasite Eve, the original presentation boasts extreme power from the 23 woman choir. Strangely enough, there is no equalized response to the chant’s buildup, only Oli’s spoken words with a splash of synthesized, ambient noise. The juxtaposition of melodies creates a jarring experience, snapping the listener back down to reality after the crescendo.

Adding to the growing list of unorthodox musical techniques for the genre, a new voice enters the soundscape, reminiscent of a humanized, female machine relaying information. As it pointedly explains that “the end has arrived, we cannot save you, enjoy the ride,” the pieces of synth that were seemingly carelessly scattered throughout the earlier background segments of the song begin to take shape into a melody. When the buildup finishes, all sound is immediately cut for a second time, leaving an opportunity for the robotic voice to whisper “this is a war” before exploding into the chorus.

For the first time in this entire journey, all of the pieces have perfectly come together to form a cohesive entity. The synth has melted together rhythmically, complimented by some heavy-handed drums and deep instrumental chugging. Oli’s spoken words have given way to some beautifully articulated notes, halfway positioned between desperate screams and melodic musings. By the time the chorus hits, we’re craving a loud, cohesive piece of music. This is exactly what we should have always expected from BMTH’s new music. Their “old sound” hasn’t been buried away in the early 2010s, it just needed time to evolve into this new beast. Being honest? This chorus SLAPS.

The second verse follows in the footsteps as the first, but now we, as listeners, know what to expect. We’re sitting on the edge of our seats now in excitement, rather than anxious anticipation. Errant bits of synth and ambient noise float around among crescendos and decrescendos, until the chorus hits again in celebration of the pieces it was formed from. It’s now beautifully cathartic, reveling in what is has created.

At the end of the second verse, the path shifts yet again as things quiet down and sirens ring in the background. The chugging echos and Oli begins his angry rant. The breakdown builds as the screams roll in, climaxing in an instrumental free-for-all worthy of a headbang. A Sempiternal era headbang. The last twist comes perfectly positioned at the apex of the screams, where the guttural emotions fade to peaceful ambiance, signaling that the battle is over. The parasite has won. Guitars and drums slowly fade back in for a final chorus, complete with layered vocals and a full picture of each instrument’s contribution.

A Current Reflection:

BMTH weren’t exactly ambiguous with the significance behind this song, heavily criticizing both governmental and individual responses to COVID-19. While most are taking things seriously and following necessary precautions, some have passed it off as nothing but a hoax, as others participate in the spreading of conspiracy theories. In the first verse, Oli brings these individual issues to the forefront, offering: “really we just need to fear something, only pretending to feel something, I know you're dying to run, I wanna turn you around.” In other words, the danger in not believing in the pandemic and not taking the proper steps to limit the spread is incredibly detrimental to everyone, not just yourself. In a pandemic where the pathogen is highly contagious, carelessness on one’s part might lead to the death of someone else.

Another instance of attack comes as a direct assault on the governmental response and a direct plea to the people: ”You can board up your windows, you can lock up your doors, but you can't keep washing your hands of this shit anymore. When all the king's sources and all the king's friends, don't know their arses from their pathogens. When life is a prison and death is the door, this ain't a warning, this is a war.” The war of misinformation and the mismanagement of resources should be infuriating to everyone who has been subjected to it. During a time of international crisis, we should be able to trust those in positions of power to see us through - something that has seemed to be too difficult a task for us in the states and apparently across the pond in the UK as well. We deserve better.

Conclusion:

All in all, I’d argue that “Parasite Eve” is more of an experience than it is a song. It cannot be held to any current industry standard because it is somewhat genre-less. It has all of the tropes of post-hardcore (chugging guitars, screaming, breakdowns) but the samples, synth, and spoken-word lyrics are far more characteristic of hip-hop/electronica. Personally, I’d argue that it sits in whatever new category that Falling In Reverse and Asking Alexandria have found extreme success with in their last few respective releases, “Popular Monster” and “Alone in a Room.” Combining multiple genres make it possible for a larger audience to enjoy the music, thus increasing overall streams to combat the decline of physical album sales.

Give the new track a listen let me know what you think in the comments below!