Death Breath by Bring Me the Horizon Lyrics Meaning – Decoding the Vampiric Allegories Within

You can view the lyrics, alternate interprations and sheet music for Bring Me the Horizon's Death Breath at
Article Contents:
  1. Music Video
  2. Lyrics
  3. Song Meaning


The sun goes down, we come out
The sun comes up, we come down
We lived fast and died pretty

“We’re all vampires and we own this fucking night”

I’m not homesick, I’m just so sick of going home
I’ve been walking these streets for days
In search of blood yeah.
I’d kill for the sun to never rise again
I’d do anything, oh anything

So tie a rope around my neck, pull it tight
Until it breaks. You can’t kill us
We’ll never fucking die.
I want to sink my teeth into all of you
If only I could show you just how sweet this could be
But you leave a bad taste in my mouth
So spit it out, so spit it out

Full Lyrics

At the bleeding edge of lyrical exploration, Bring Me the Horizon’s ‘Death Breath’ strikes a chord with its visceral depiction of nocturnal restlessness. Navigating a landscape shrouded in darkness, the song weaves a tapestry of powerful imagery and potent metaphor, ensnaring the listener in its powerful thematic embrace. It’s more than a hard-hitting track from the venerable rock ensemble—it’s a night-time anthem for the disenchanted.

But what lurks beneath its aggressive veneer and compelling rhythm? The lyrics of ‘Death Breath’ invite a deep dive into the band’s creative psyche, challenging us to unravel a complex web of emotions and societal observations. This is a song that resonates on multiple levels, a multi-layered odyssey encoded with themes ripe for dissection.

The Twilight Anthem of Modern Discontent

As the lyrics pulse with the transition from twilight to dawn, ‘Death Breath’ captures the essence of a generation’s angst. The repeated oscillation between day and night serves as a stark metaphor for the eternal struggle between conformity and rebellion. Living ‘fast and dying pretty,’ the song exhorts its readers to question the transient nature of existence, wrapped in the seductive cloak of vampirism.

It’s a reflection of a rebellious youth culture that thrives under the cover of darkness. The sun’s setting becomes a signal for the outcasts and misfits to emerge, to own the night unabashedly, as they shun the light of day and the mundane routine it represents. The song doesn’t just articulate a lifestyle; it screams a mandate for living on the fringe, for those who find solace in the shadows.

Vampires as Metaphor – The Undying Human Spirit

‘We’re all vampires,’ the chorus chants, grounding the song’s fangs deep into the mythological as a symbol of the undying human spirit. As these ‘night creatures’ label themselves, the vampiric reference extends beyond an overt nod to folklore. It’s a battle cry of resilience and immortality—’You can’t kill us, We’ll never fucking die’—affirming a collective, undying spirit that transcends the bodily and the temporal.

The traditional vampire is seen as a being that feeds on another to sustain itself, drawing a subtext of dependency and survival. By choosing such a potent mythos, the song taps into an existential vein, pondering over what it means to really live and thrive in a society that often feels draining to our essence.

A Thirst for the Night—Tales of Seductive Escapism

The walking of the streets ‘in search of blood’ reveals a deeper yearning—a lust for something more palpable than what daylight has to offer. The allure of the forbidden and the nocturnal is palpable as the lyrics delve into the hypnotic pull of escapism. The depiction of a desire so strong, it would ‘kill for the sun to never rise again,’ is the epitome of wishing to remain lost in the height of an experience—never to return to the banality of the ‘normal’ world.

Concurrently, ‘Death Breath’ serves as an ode to hedonism. The urge to ‘sink my teeth into all of you’ veers dangerously close to predatory but, at its core, it’s an expression of a desire to indulge to the fullest, to experience the sweetness of life without restrictions—before it sours.

The Repugnance of Return—Home Is Where the Horror Is

A particularly poignant note is struck with the line, ‘I’m not homesick, I’m just so sick of going home.’ The notion of home as a space of comfort is subverted into a space of dread. The nomadic existence of the protagonist appears more inviting than the cycle of leaving and returning to a place that suffocates—where the rope around one’s neck provides a stark image of the pressures and constraints that society imposes.

This idea resonates deeply in a world where the concept of ‘home’ is often loaded with contention. Whether it’s the physical house or the larger societal home, for many it represents an array of pressures, expectations, and a stifling environment that’s eager to pull one back into the fold, even against their will.

Dissecting the Euphony—Memorable Lines That Haunt

Music isn’t just about the palpable beat or the heady vibe; it’s also the lyrical barbs that ensnare our attention. ‘So spit it out’ conjures visceral disgust, the urge to reject what is unpalatable about existence itself. The lines echo the revulsion toward the metaphorical taste left by societal norms and pretensions—urging a visceral reaction against what’s forcefully fed.

Simultaneously, these words are an indictment, a revolt against a pre-packaged, consumerist life that leaves a ‘bad taste.’ ‘Death Breath’ does not mince words—it calls for an honest expulsion of the distasteful elements that we’re forced to swallow daily, advocating for an authenticity that’s often missing in polished veneers of societal interaction.

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