\u201cFuck off, I\u2019m full\u201d was a measured response to Between The Buried And Me\u2019s last album, Colors II<\/a>. The 78-minute opus was a maximalist ode to music\u2019s malleability, sardining death metal<\/a>, salsa, bluegrass, metalcore<\/a>, Crash Bandicoot samples and more inside a prog metal<\/a> tin. As a thematic sequel to their 2007 breakthrough, Colors, it worked. As a standalone, it excelled.<\/p>\n Sure, it was a lot, but each unhinged element pushed, pulled, complemented the next. Sarcastically described by vocalist Tommy Rogers as \u2018\u201cheavy yacht rock\u201d, it helped BTBAM squeeze one of their famed concepts through when they thought they were out of steam.<\/p>\n <\/p>\n Four years later, yacht rock\u2019s nebulous traits are no longer a throwaway joke. They circle the edges of The Blue Nowhere\u2019s title track and trample onto Things We Tell Ourselves In The Dark\u2019s King Crimson-cum-Yes deck, spotlighting Dan Briggs\u2019 showy bass solo. So far, so tech-metal-jazz<\/a>-fusion-space-age-DevinTownsend-whatever.<\/p>\n You may like<\/p>\n It\u2019s batshit, bugshit, bullshit. If you really dislike the band, it\u2019s utter dogshit. But if you\u2019re a paid-up BTBAMphile? Welcome back to the circus \u2013 only this time, it\u2019s less The Greatest Showman, more a carpark funfair outside Skegness.<\/p>\n Door #3\u2019s carnival-esque groove, replete with Tommy\u2019s raggedy scatting, sounds like Korn<\/a> going mental on the dodgems. God Terror, saturated with industrial percussion and compressed riffing, sails for NIN and docks somewhere in Pitchshifter\u2019s port.<\/p>\n That\u2019s not to say BTBAM have been completely blown off course. It\u2019s just that a sizeable chunk of the leftfield pivots feel wacky and cloying. The random falsetto bark harboured in Door #3 is actively annoying, as is Psychomanteum\u2019s jaunty pierside piano. Most tech-death blasts feel like ironic jump-scares, skits, rather than an elite band\u2019s cargo.<\/p>\n When they hit, though, they\u2019re more juiced-up than a pint of undiluted Ribena. Absent Thereafter\u2019s heavy metal<\/a> hoedown shows unbelievable craft, funky bass and barn-burning guitar breathlessly Frankensteining 11 minutes together.<\/p>\n Waves of orchestration are a welcome surprise across the album, too. The title track\u2019s Devin-ish arpeggios swell into The Blue Nowhere\u2019s money shot, Tommy crooning the \u2018Searching, lost in synthetic\u2019 chorus like Ville Valo chartering a ferry full of sadboys to the Maldives.<\/p>\n No longer anchored to a strict concept, BTBAM had the chance to create islands, each song a destination in its own right. Instead, they feel bitty, fragmented. The album sways between proggy, off-kilter grandeur and ragtime jestery, not quite teasing either side hard enough. If you want the former, Devin Townsend is available for parties, funerals and cruises; the latter\u2019s covered by bands like Diablo Swing Orchestra<\/a>. Nothing here moors itself close to Revolution In Limbo\u2019s euphoric climes or the bends-inducing thrill of Prehistory, both present on Colors II.<\/p>\n That The Blue Nowhere comes from four blokes\u2019 brains is objectively impressive. But for 71 minutes jammed with ideas, there are scant hooks on display. If it\u2019s taken BTBAM this long to appear even vaguely rudderless, it\u2019s at least testament to their near-perfect catalogue. They\u2019re human, fallible, but never boring.<\/p>\n The Blue Nowhere is out September 12 via InsideOut. Between The Buried And Me tour North America from September 14 and the UK\/Europe from February 19 2026. For the full list of dates, visit their <\/strong>official website<\/strong><\/a>.<\/strong><\/p>\n BETWEEN THE BURIED AND ME \u2013 The Blue Nowhere (OFFICIAL VIDEO) – YouTube Watch On <\/a>
\n![\"BETWEEN](\"https:\/\/www.europesays.com\/uk\/wp-content\/uploads\/2025\/09\/1757590814_51_maxresdefault.jpg\")
<\/p>\n
\n<\/p>\n","protected":false},"excerpt":{"rendered":"You can trust Louder Our experienced team has worked for some of the biggest brands in music. From…\n","protected":false},"author":2,"featured_media":415679,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3936],"tags":[77,269,16,15],"class_list":{"0":"post-415678","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-music","8":"tag-entertainment","9":"tag-music","10":"tag-uk","11":"tag-united-kingdom"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@uk\/115185478880854722","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/415678","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/comments?post=415678"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/415678\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media\/415679"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media?parent=415678"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/categories?post=415678"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/tags?post=415678"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}