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Matthew Tuck - walijski muzyk, wokalista, gitarzysta oraz lider grupy metalcorowej Bullet for My Valentine.. Przed rozpoczęciem kariery w zespole pracował w walijskiej firmie Virgin Megastore. 

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Matthew Tuck - walijski muzyk, wokalista, gitarzysta oraz lider grupy metalcorowej Bullet for My Valentine.. Przed rozpoczęciem kariery w zespole pracował w walijskiej firmie Virgin Megastore. 

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Matthew Tuck - Wikipedia, wolna encyklopedia

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Matthew Tuck (ur. 20 stycznia 1980 w Bridgend) - walijski muzyk, wokalista, gitarzysta oraz lider grupy metalcorowej Bullet for My Valentine. Potrafi grać także na perkusji, keyboardzie, flecie oraz na harmonijce. Przed rozpoczęciem kariery w zespole Bullet for My Valentine pracował w walijskiej firmie Virgin Megastore.

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biography of a living person needs additional citations for verification .reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (Learn how and when to remove this template message)

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Matt Tuck reagujący na swoją biografię na wikipedii

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Matt Tuck reagujący na swoją biografię na wikipedii

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bullet for my valentine matt tuck wikipedia fact or fiction

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Bullet for My Valentine's Matt Tuck - 'Wiki: Fact or Fiction?'

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Bullet for My Valentine frontman Matt Tuck proves and disproves what's written about him on Wikipedia.

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In the States, the music of Bullet For My Valentine - the subject of a profile in the February 28 Westword - is typically lumped into the modern rock, hard rock or screamo categories. But as lead singer/guitarist Matt Tuck makes clear in the following Q&A, he considers his band to be part of the U.K. metal tradition. Moreover, he hopes that its success will usher in a new era of British steel.

Speaking from his hometown in Wales, Tuck discusses reports about assorted health issues, including throat problems and exhaustion; the difficulties the band had in getting signed; the pros and cons of sticking to a musical formula; the decision to move away from minor keys on the outfit's new CD, Scream Aim Fire, and the subsequent backlash from some fans and critics; a straight-forward attack on the way Axl Rose treats his audience, based on personal observation; a contrasting tribute to Metallica, another Bullet tourmate; and his revelation that, as a kid, he used to put himself to sleep listening to Pantera and Machine Head albums.

Sweet dreams.

Westword (Michael Roberts): Where are you at right now?

Matt Tuck: Actually, I'm in Cardiff, where I live. I've got a little intimate radio show tonight. It's like a day off from the tour, so we're doing a little show in our hometown in Cardiff, Wales... There's a new radio station that's opened up, called Xfm, which is kind of a national radio station, but they've got a regional version here in Wales. And we're playing a show for them tonight.

WW: Electric or acoustic?

MT: Full on.

WW: Do you play acoustic? Or is that against your philosophy?

MT: No, I love acoustic. I can do acoustic versions of all our stuff. But that's something I don't tend to want to be a part of live. That's mostly just for myself.

WW: Do you write on acoustic?

MT: I used to, a lot, years ago. But now, I don't get that luxury of time, of just sitting in my house strumming along. Mostly, the new songs get written on the back of the bus on a little electric guitar and amplifier.

WW: Well, these days, a lot of articles about you are filled with Matt Tuck health news - stuff about throat problems and hospitalization for exhaustion. Are you generally a healthy guy? Are these kinds of things out of the ordinary?

MT: I used to be very, very healthy, until I got into a band (laughs). No, those are just moments, and they get a little bit exaggerated when you read about them and you're not part of it. I just had the tonsils removed. They were causing me to be ill a lot. They were getting infected. And the exhaustion thing was just touring too much. Too many shows, and our shows are very physical, especially with us having to deal with all the traveling and the jet lag. All that stuff at the same time, it kind of gets to you. There's only so much you can take.

WW: After you had your tonsils removed, did you have to learn to sing in a way that wouldn't damage your voice? Or are you doing pretty much what you've always done?

MT: The voice was never a problem, and the vocal cords are fine as well. But once I had the tonsils out, I've gone through vocal coaching, yes, but even before that, speech therapy. So I've learned to do it properly rather than just naturally, which I did for years and years and years. But now I've gotten coaching from the best in the business, my voice is sounding better than ever, really.

WW: So it's improved instead of changed in a way that took you by surprise?

MT: Yeah. Initially, when it first started to come back, it was sounding a little different, but I think that was just breaking it in again. I kind of got up to a level, especially stamina-wise, where I'm doing the shows every night, and it's not a problem. It's settled down and is sounding like it should

WW: In terms of exhaustion, it seems like only famous people get that - not the average person. But what happened? Did you actually collapse? And how did they treat it?

MT: It never got to the point where I was hospitalized. It just get to the point where your body kind of packs it in, and it goes from one thing to another and snowballs into a big deal. It is hard for the majority of people to know what it is, but it sucks big-time, physically and mentally as well. It gets into your head a little bit and then it goes round and round. It's just rest, is what you need, really. Just time away from everything and everybody, so you can just recharge.

WW: For you, is it difficult to tell yourself, I need to shut down for a few days? Are you naturally the type of person who keeps going and going and going?

MT: Yeah, I always have been. I can't sit still for two seconds, and I get bored really easily. I was just trying to ride the wave of success, really. We were in so much demand two years ago, which we still are. But we've learned now, because of what happened with the cancellations - everyone knows that they have to make allowances. I have a big part in especially the touring schedule now. They always check with me before they book anything to make sure that there's not more than three shows in a row and that kind of thing. We're in a position where we can kind of call the shots, which is good. I think that will be more productive in the long run.

WW: Are there times when you sense, I need to slow down or I could be headed down that exhaustion road again? Or does the schedule take care of that?

MT: Yeah, the schedule is in place for the summer and the rest of 2008 as well, and everything looks okay. I'm not getting worried about the schedule. It is very, very busy, but it's nothing as extreme as it was two years ago. You know, the bigger you get, the less gigs you can do, but you're in bigger venues. That's kind of what we're trying to do, really.

WW: Here in the States, there are a lot of bands that don't want to be called metal. They prefer screamo or screamo-core or whatever other label is trendy that week. But you guys seem to relish being called a metal band. Is that true?

MT: Yeah. If anybody wants to put us into some category, that's the one we think we fall into. That's the one we'd like people to put us in instead of all these subgenres and combinations of genres and stuff like that. I just don't get that, really.

WW: Do you feel that you're part of a tradition - following in the footsteps of your heroes?

MT: I never really thought about it at first, to be honest. But as time has gone on and we've gotten more successful, we look around us and we're about the only band that's doing it as well, and getting somewhere with it. It's something that we think about and are aware of - that we could be the next big British metal act. There's no one else even competing with us for the moment, which is good with us.

WW: It's interesting that you say that, because once upon a time, British metal acts basically ruled the metal world - but you guys are the first in a long time to get as big as you have internationally. Do you have any theories about why that's the case?

MT: I just think it's because we've been ambitious and we've been hungry for it and passionate about it and we've never done anything else: We've always done it our way. And I think if you do it long enough and you're good enough, it's only a matter of time before someone acknowledges it and it can't be ignored anymore. And that's what happened four years ago, I think. We were getting rejected by record companies every week, but the potential was there. It's just that no one could see it. Whether they were scared of it because we were a metal band, I don't know. But finally someone saw it for what it was, and all the potential, and snapped us up pretty quick. And the rest is history.

WW: Have you heard from any representatives of labels that rejected you, saying, "Man, we screwed that up"?

MT: Not really. They kind of know the score. They know they missed out on something that's potentially massive. So that's good enough for me (laughs).

WW: Are there other British metal acts coming up in your wake that you see as blatantly imitating you? Or do you see yourselves as more or less the only game in town?

MT: At the moment, we still kind of are, which is mad. I'm sure there are potentially loads of bands following in our wake, using the formula we use or whatever. But there's not. And it's something that works to our advantage every day. As long as we're the only ones doing it, we're at the forefront. I'm sure in the next couple of years, there'll be a few bands coming through. But at the moment, we're the only ones doing it.

WW: The word "formula" - I've heard you use it before in terms of songwriting. For some critics, that's like waving a red cape in front of a bull. They think anything that uses a formula is bad. But do you feel you have to have a formula in order to be productive and to make the most of what you've got?

MT: I think so. The word "formula" to me describes how we right a song rather than something we stick to permanently. Because on this album, we stepped out of our comfort zone and done things we haven't done before. But we've kept the same formula. We've always tried to incorporate what makes us what we are. Our identity was a very important thing for us to keep. But we didn't want to play it safe. We wanted to throw a couple of curve balls in there and make people go, "Wow - didn't expect that." But at the same time, hopefully they like it.

WW: So when you're talking about formula, you're using it in regard to the approach you take, as opposed to feeling that you have to have a verse that sounds this way and a chorus that sounds that way.

MT: Yeah, definitely. When I say formula, it's more about keeping the identity and what makes us who we are and what we are. Because that's what's gotten us to where we are today.

WW: What do you see as the biggest departure on the disc? Something you'd never done before?

MT: The main thing we've done on this one was write songs in major keys, which automatically makes them a bit poppier, or happier at least. And it's something I was aware of when I was writing, but I was like, "Fuck it. This is a great-sounding song." People can call it what they want. As soon as you step into that zone, people start yelling, "Sell out!" and "You're not a metal band anymore!" But I'm not the type of person afraid of trying something different. So when we started writing songs in major keys, it was more about "Is the song good?" And if the answer's "yes," then it stays.

WW: The early reception to the disc - well, there are definitely some haters out there...

MT: Yeah.

WW: Does that connect with you at all? Or do you feel these people so obviously have an ax to grind that their opinions don't really matter?

MT: It comes with the territory, especially being in the genre we're in, and today's accessibility over the Internet for people to voice their opinions. But it is something that really doesn't bother me, especially nowadays. We've proved what we're capable of, and what we've achieved. Not a lot of bands on the planet have done what we've done in the last couple of years, so these people's opinions don't really matter. I take it on board and consider it, especially if it's constructive. But when it's just negative, people hating us, well, whatever.

WW: Over the years, classic metal bands like Judas Priest and Iron Maiden never got good reviews - but years later, a lot of critics would have a complete change of heart and pretend that they liked them in the first place. Do you see that kind of thing happening with you? That the critics will appreciate you more ten years from now than today?

MT: Well, everything until this new album has been really positive. But the backlash was bound to happen. Poison was picked up to such a degree by the media that there was only one direction they could have gone on this new record - to hate it. There's lots and lots of reviews that have been really, really positive and amazing. But especially here in the U.K., the big publications and rock magazines, they've definitely done the predictable thing and slagged it a little bit. But at the same time, they're still putting on the covers every week. It's weird. It's just kind of how it works. It's the only way they can keep articles about us fresh, because we're in there so often, I guess. It's a classic thing. Hype them up, drag them down, build them back up.

WW: And by you guys moving in a more accessible direction, that made you easy targets?

MT: Yeah, totally. It was something very aware when I was writing it. I knew there were people who were going to be absolutely hating it because of that. But being a songwriter, for me the most important thing is having great songs on the album, regardless of how heavy it is or how fast it is, etc., etc. It's definitely an easy target, but it's good when they're talking about us, isn't it? (Laughs.)

WW: You're known for being very outspoken. I'm thinking of that blog posting you put up about Rob Zombie that got you kicked off his tour a year or two ago. But I don't sense you have any regret about speaking your mind. Am I right about that?

MT: Yeah, you're spot on. The reason I don't regret it is because I didn't lie. Why should I regret speaking the truth?

WW: Do you think that kind of attitude pays off with the fans? Do they like knowing you're going to give it to them straight?

MT: Yeah, I think so. Again, it's kind of that thing where people love and respect you or they fucking hate you because of it. Me, I'm not the person to sit on the fence. I'll say what I say, either good or negative. I'll never slag off anyone unless there's a big reason to. It's not what I'm about at all, because I get it done about me. So there has to be someone who really pushes me buttons for me to get riled up about it.

WW: I came across one piece where you talked about opening for Guns N' Roses, and you said they'd shown how not to act on a tour - but you didn't really elaborate. What did they do that you didn't respect?

MT: First of all, when I said "they," I meant "Axl." I didn't mean the band. I must make that clear. But that was something I got a lot of stick for on Internet forums. People saying, "Who the fuck does he think he is? Axl's a legend!" Well, how would you fucking feel if you were standing on an arena floor for fucking six hours waiting for your idol to come on, and then he plays half an hour and fucks off? You know what I mean? The guy just had no respect for the people who were coming to his shows. We were the support band, we're doing our thing, which is cool - that's what we were there for. But he'd make people who may have traveled hundreds of miles and paid ridiculous amounts of money to see a band that wasn't even the band it was - it's just because Axl's there. And after we come off, there's three hours to wait until he's ready to decide to go on stage. Or he won't go on stage because his lamb hasn't been cooked that night, and he's not going to go on stage until he gets it. And I get stick for saying that? Well, fuck you, man. We're learning from these people, and all we learned from them was how not to do it. That's all I meant by that.

WW: So it wasn't anything that he did to you guys personally? It was more the disrespect he had for the audience?

MT: Definitely. We were treated very well. We couldn't ask for anything more. We had really good catering everyday and everything. There was no interaction with us and the bandmembers and Axl. We were totally segregated, but that's the way it rolls sometimes, and that's cool. But we were never treated badly, no. It's just being the band we are, we're very aware of what's going on around us, and we take the good and the bad in and try to use it to our benefit.

WW: In contrast, you've had nothing but good things to say about Metallica, who you got the chance to open for, too. Are they a role model for you? Would you like to see your career develop the way theirs has?

MT: Yeah, they've always been the number-one role model for me when I was a kid. They were the reason I picked up a guitar, etc. The first day on this little tour we had with them, it was like, fuck, this is weird. We knew we were in the presence of rock royalty. And ten seconds later, there was a knock on the dressing room door and there was Lars [Ulrich] introducing himself and saying how much he likes the band. We did a "Sanitarium" cover from Master of Puppets for a remake and he said how much he enjoyed our version of it. And he said, if there was anything we needed, we should let him and the guys know, and there was no segregation. And we were like, "Fuck, man, this is definitely how it should have been on all the other tours." It was just a total inspiration. Him and the rest of the band and the crew made us so welcome. Anything they could do for us, they would, and they'd hang out in our dressing room, talk as friends. It was totally a bizarre, surreal experience, but at the same time, it showed us that was definitely the route we want to go in the future. Regardless of how big or successfully, potentially, that a band can be, they're totally grounded as human beings, which is amazing.

WW: Is that the approach you take when you're the headliner on a lot of shows toward the bands that are supporting you?

MT: Yeah, even when we started doing headlining shows two or three years ago at smaller European venues: Every time we take a band out on support, it's usually because we've personally requested them. We're on tour right now with a couple of bands, and every night, everyone's in each other's dressing rooms, hanging out, drinking, having a laugh, jamming on guitar. There's just no bullshit, you know. We treat people who we'd want to be treated. Simple as that.

WW: People used to talk about rock and metal as being a young man's game, and yet groups like Metallica show that you can keep going and going. Do you see yourself still doing this when you're in your fifties or sixties?

MT: To be honest, I don't know. It's a lot different these days than it was twenty years ago to have that status, especially with what's going on in the music industry and digital music and stuff like that. I think potentially we could be around for a long time if we wanted to be. I think we definitely have the talent and the songwriting capability to be around for a long time. But us, fifty years old, being on a stage? I don't think I could do that (laughs). I'm in my twenties now, and I find it hard enough.

WW: Well, I have to ask about my daughter's favorite song of yours, "All These Things I Hate (Revolve Around Me)." Every time she's pissed off, she cranks it up to about 110 decibels. Is that something you like hearing: That people use your music to vent to?

MT: Yeah. If people love the music for whatever reason, whether it's a positive thing or an outlet of aggression, it's something I still find really weird. I just write songs, or the band writes them together, and I usually don't think about them affecting people in a certain way, or that people might look into it or read it differently from what I might write about. It's just a weird thing. If people love the band, love the songs, to me that's amazing. It's something I can't really get my head around because, I mean, that's my job. It's an amazing, amazing thing.

WW: What's the music you play for yourself when you have to vent?

MT: Just stuff I've always listened to. I don't stray too far away from the rock world, basically. But I'm not really the kind of guy who gets wound up or pissed off. I'm a very easy going, chilled-out kind of guy. I never really get pissed off. It takes something really, really big to get me going, and I've never really lost my temper in my life, to be honest. But I usually listen to the stuff I've listened to all my life. Metallica, Machine Head, Pantera, Slayer, Iron Maiden. All the stuff I grew up loving has stuck with me.

WW: If you've never lost your temper, that's a pretty good argument for becoming a metal musician...

MT: Yeah. I used to put on Pantera's Vulgar Display of Power and Machine Head's Burn My Eyes when I was a kid going to sleep. I'd turn on the stereo and just get into bed and it'd really chill me out and relax me.

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Q&A With Matt Tuck of Bullet For My Valentine

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In the States, the music of Bullet For My Valentine - the subject of a profile in the February 28 Westword - is typically lumped into the modern rock, hard rock or screamo categories. But as lead singer/guitarist Matt Tuck makes clear in the following Q&A, he considers his band...

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THE SPOTLIGHT - Bullet For My Valentine - Matt Tuck

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Bullet for My Valentine's Matt Tuck on Personal Frustration Behind "Over It"

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Watch singer/guitarist breaks down lyrics to "freight train" new song

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Wywiad na temat życia Matta oraz najnowszego albumu wydanego przez jego zespół

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Wywiad na temat życia Matta oraz najnowszego albumu wydanego przez jego zespół

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"I've done an Adele; I've made a breakup record!"

Matt Tuck is only half-joking when he compares himself to the British pop sensation, famed for her warbling stadium heartbreak ballads. But there is no denying the years after the release of 2015's have been rough for the Bullet For My Valentine frontman, to say the least.

He's suffered two major breakups, the first being the demise of his marriage to wife Charly Beedell, the mother of his only child, Evann.

" is an album about me," Tuck says. "What I've been through, how I've felt and what it's done to me. I was in a dark, lonely, horrible place because of a breakup I was going though and had a lot of guilt, remorse, fear and anxiety. Trying to keep the band on the road, work my arse off and take on all that pressure constantly.

"All of a sudden, after a massive two-year touring cycle, I ended up in a place by myself with no one around, and it hit hard. is a way for me to vent about that stuff, and I'm so proud of it."

Consider that within the decade Bullet released their first five albums, they've never really drawn from personal experience to write lyrics. Machine Head frontman Robb Flynn penned Aesthetics Of Hate after reading an article slandering his buddy, the late Pantera guitarist Dimebag Darrell. Avenged Sevenfold guitarist Synyster Gates composed "So Far Away" about his best friend and drummer, Jimmy "The Rev" Sullivan's unexpected passing. Lamb Of God vocalist Randy Blythe wrote "512" after his time behind bars, chillingly referencing the cell number he was held captive in for several consecutive weeks. Fans have never been granted much insight into the inner workings of Bullet For My Valentine, until now, with the release of .

"It's the only personal record I've ever written," Tuck admits. "A bunch of other stuff in the past has touched on certain things, but as far as wearing my heart on my sleeve as openly and direct as these songs are, it's absolutely the only personal record I've ever made.

"It was very difficult because I didn't want to let people in. I didn't want to air my dirty laundry and show a vulnerable-not a weaker side-but a far more personal side. I'm supposed to be this rock star guy. That's all people see, and it's what they think they get, but there's a lot of behind-the-scenes human stuff that we all have to put up with at the same time."

The other breakup Tuck endured was his decision to part ways with Bullet co-founder/original drummer Michael "Moose" Thomas in December. Since the announcement was made in late 2017, no reason for Moose's departure has ever been provided. Tellingly, his social media handle on Twitter is still @moosebullet.

Moose has been permanently replaced by Jason Bowld who had been filling in for Moose as a session musician since 2015, playing every show with the band and even entering the studio to write and record with them last year. Formerly of Pitchshifter, Bowld is now an official member of Bullet For My Valentine.

"We've been a band for a long time," Tuck says, "and when you lose a band member, it does hurt and it does sting; stings us, stings the fanbase, but ultimately, it's a journey. We're still on that journey, and luckily we've got two guys in that have had an outsider perspective of Bullet, so they know exactly how important this band is and what it means to people.

"To bring that inside and to give me and Padge [Michael Paget, Bullet's lead guitarist] that reflective side of what we are is incredible, because we forget that a lot of the time. To have them bring this energy and passion and creative streak that we've never had before is great. Jase's one in a million, and I'm so proud and happy to have him as part of our band now."

"I'm the new drummer and loving it, quite frankly," Bowld says unabashedly. "I recorded 'Don't Need You,' the single we did two years ago, but this is the first record I'm on with the band. The first song we wrote was called 'Gravity,' and the album was written to enable us to play bigger venues. We wanted to step up a level. We want to be headlining festivals."

Suffering the emotional turmoil of breaking up definitely had a negative effect on Tuck's mental health, which he writes about on . He endured spells of anxiety and depression and felt so hopeless that even as the band were months into writing the album, he was questioning his future as an artist. Now that's he's been through a particularly dark time and come out the other side with strength, he has immense empathy and compassion for those experiencing any kind of mental health issue, and encourages anyone who is struggling to try to open up to someone.

"Bereavements, breakups, not wanting to get up in the morning," he says, rattling off a list. "It doesn't discriminate who you are and what you do. That's the point. I've been through depression. I didn't even want to be in the band this time last year. But there's ways and means of getting yourself through that, and for most people, it's sharing. I've decided to share it with the world. I always think that a problem shared is a problem halved. That saying is very true."

"We've all been through a bit," Bowld echoes. "There's not one person out there that's not been through a meltdown on whatever scale. If you can't talk about these things, you do end up missing out a lot on life; you can paralyze yourself. It's good for people to talk about it."

"It's just as important as any other health issue," Tuck responses. "If anything, it's more important, because it's not something you can really tell. If people don't say anything, how do you know? The most important thing is to open up and share it. Writing until I felt better again pulled me out of that rut. It's been a shit card to be dealt behind the scenes, but it's actually turned around to a really positive part of my life. It's helped me, so if I can do it, everyone else can."

The artwork for is a stark contrast to Bullet's back catalog, too. Sinister images are usually quite prominent-moody clouds, bloody hands and poisonous snakes, to reference a few.

"Gravity holds you down-it's this pushing and pulling kind of thing," Tuck explains. "It can mean different things to different people. This album lyrically is very dark, and it's very personal, but I wanted to not take the artwork down that route. Having something super vibrant and colorful for a change; the wings symbolize freedom and being able to escape."

Bullet For My Valentine-Tuck, Paget, Bowld and bassist Jamie Mathias have been working on since last April, demoing, writing and recording at Metropolis Studios in London. It's their sixth album and the first to be released through Spinefarm Records. Even though they've been in this game for many years now, it wouldn't be unfair to consider a comeback record, the band stepping back from the brink of collapse. Whatever you think of Bullet, Tuck hopes the rock and metal communities can keep an open mind and give the spin it deserves.

"We've put so much blood, sweat and tears into this," he resigns, "that for people to not give it a chance or pre-judge it before even listening- that's the downside of what we do. But we're confident in what we've produced, and we've done it from the heart. It's honest.

"It's the album we wanted to make. We haven't relied on the band's history; we've actually totally fucking forgotten about that-if I'm frank-and we're just looking forward to the future. The history's been amazing, but it's not about that. It's been a positive experience all round, and the feedback we've got from everyone all over the planet-that I've been speaking to for the past couple of months-it's all connected with them in a really beautiful way. We've made an album which, in my eyes, is going to be the biggest rock record of the year."

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Bullet For My Valentine talk depression: "I didn't even want to be in the band"

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"I've done an Adele; I've made a breakup record!" Matt Tuck is only half-joking when he compares himself to the British pop sensation, famed for her warbling stadium heartbreak ballads. But there is no denying the years after the release of 2015's Venom have been rough for the Bullet For My Valentine frontman, to say [...]

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Bullet for My Valentine - Wikipedia, wolna encyklopedia

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Zespół Bullet For My Valentine powstał z inicjatywy gitarzysty i wokalisty Matthew Tucka, gitarzysty Michaela Pageta i perkusisty Michaela Thomasa w 1998 w Bridgend nieopodal miasta Cardiff na południu Walii. Grupa początkowo występowała pod nazwą Jeff Killed John. W 2002 roku członkowie zespołu podpisali umowę z Sony BMG na wykonywanie 5 albumów.

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Bullet For My Valentine to walijska formacja metalowa powstała pod koniec lat 90. Styl formacji zainspirowany jest dokonaniami zespołów Metallica, Iron Maiden czy Slayer. Kapela Bullet For My Valentin zadebiutowała w 2005 roku krążkiem "The Poison".

Początki Bullet For My Valentine sięgają końcówki zeszłego stulecia. Matthew Tuck (wokal, gitara), Michael "Padge" Paget (gitara), Nick Crandle (bas) oraz Michael "Moose" Thomas (perkusja) studiowali wtedy muzykę na Bridgend College i w wolnym czasie grali w kapeli Jeff Killed John. Formacja, jak wiele innych początkujących, startowała od grania przeróbek (m.in. Metalliki czy Nirvany), z czasem, jej członkowie zaczęli komponować własne utwory, stylistycznie nawiązujące do popularnego na przełomie dekad nu metalu. - Było w tym trochę rocka, hard rocka i nu metalu, ale tak naprawdę nie było to coś, co w rzeczywistości chcieliśmy robić - opowiadał Thomas serwisowi Metalrage.com. - Myślę, że próbowaliśmy wpisać się po prostu w pasujące wówczas w muzyce trendy. Niezadowolenie jednak nie ograniczało się jedynie do aspektów stylistycznych. Pieniądze, które panowie zarabiali na koncertach były znikome, kapela miała także problem z przebiciem się poza lokalną scenę, dlatego na pewnym etapie Crandle podziękował za dalszą współpracę. Pech chciał, że było to w przededniu wejścia kapeli do studia, gdzie miała powstać pierwsza kaseta demo. - Mieliśmy zabukowane studio na sobotę, a Nick odszedł w piątek - wspominał Tuck w rozmowie z BBC. - Wszystko się rozsypało, to był cios poniżej pasa.

Zniechęceni muzycy początkowo zrezygnowali z dalszego grania, po kilku tygodniach rozpoczęli jednak poszukiwania nowego basisty. - Kiedy nasza kapela się rozpadła, wszyscy wzięliśmy sobie trochę wolnego od siebie, szybko jednak zatęskniliśmy i nagraliśmy demo - opowiadał frontman serwisowi Smnnews.com. - Znaleźliśmy nowego basistę, którym został Jason James i wzięliśmy się ostro do roboty. Napisaliśmy wspólnie kilka kompozycji i za drugim razem wszystko się jakoś ułożyło.

Muzykom rzeczywiście poszło bardzo sprawnie, bo w przeciągu zaledwie kilku miesięcy udało się im podpisać kontrakt płytowy z wytwórnią Visible Noise będącą oddziałem Sony BMG. Nowy start artyści przypieczętowali kilkoma zmianami. Po pierwsze, zmienili nazwę na Bullet for My Valentine. Po drugie, gruntowanie przebudowali styl - porzucili nu metal na rzecz bardziej tradycyjnego heavy metalu i metalcore'u. - To nie było tak, że założyliśmy sobie, że musimy się zmienić - wyjaśniał Tuck podczas wywiadu dla Roomthirteen.com. - Zaczęliśmy pisać piosenki i wszystko działo się samoistnie. Pierwszym utworem, który napisaliśmy już jako Bullet było "Four Words", pojawiły się w nim harmonijne gitary i potężne, niemal anielskie chóry i to później posłużyło nam za punkt wyjścia. W 2004 roku formacja została wysłana do Chapel Studios w Lincolnshire, gdzie pod czujnym okiem producenta Colina Richardsona (ten sam, który kilka lat później będzie współpracował z polskim Behemothem), rozpoczęła sesje nagraniowe do pierwszej imiennej EP-ki, która trafiła do sklepów w listopadzie tego samego roku.

Również z Richardsonem, grupa zrealizowała w październiku 2005 roku debiutancki longplay, "The Poison". Dzieło spotkało się z bardzo dobrym przyjęciem. W Stanach Zjednoczonych dotarło do 11. pozycji zestawienia Independent Albums tygodnika "Billboard" i z czasem pokryło się w USA złotem, podobnie jak w Wielkiej Brytanii (na całym świecie sprzedano ponad milion egzemplarzy). Recenzje w prasie także były bardzo pozytywne. - To solidne wydawnictwo, jeśli lubisz metalcore, który jest bardziej metalowy, niż core'owy, musisz sprawdzić tych kolesi - pisał recenzent serwisu Sputnikmusic.com - Ten album jest wielkim krokiem naprzód w stosunku do i tak rewelacyjnej EP-ki - zachwycał się z kolei dziennikarz Ultimate-guitar.com. - Kapeli udało się zachować ten sam styl - krzyczane partie wokalne i charakterystyczne gitary, przy jednoczesnym poprawieniu się pod względem melodyjności i tekstowym. Każda piosenka ma też chwytliwy refren. Popularność Bullet for My Valentine rosła z dnia na dzień. O ile w 2005 roku, kiedy panowie pojawili się po raz pierwszy na festiwalu Download, grali na jednej z mniejszych scen, zaledwie rok później, występowali już wśród głównych gwiazd. W 2006 roku kapela cieszyła się renomą, która pozwoliła jej ruszyć w trasę u boku Metalliki i Guns N' Roses. - Myślę, że dla większości kapel supportowanie Metalliki to coś naprawdę niesamowitego - opowiadali muzycy serwisowi Metalrage.com. - Granie z Gunsami także wypadło bardzo fajnie, choć wcale nie było lekko. Dużo łatwiej jest otwierać koncerty Metalliki, ponieważ stylistycznie bliżej nam do niej, a fani Guns N' Roses nie należą do najłatwiejszych.

W czerwcu 2007 roku trasa promująca "The Poison" musiała zostać jednak przerwana ze względu na problemy zdrowotne wokalisty formacji. Latem Matthew musiał przejść operację usunięcia migdałków, co nie tylko spowodowało odwołanie koncertów, ale także opóźnienie prac nad drugim albumem grupy. - Gdybym wiedział, że przysporzą mi tyle kłopotów, sam wyciąłbym je sobie już lata temu - żalił się frontman. Kiedy Matthew dostał od lekarzy zielone światło, grupa ruszyła pełną parą z pracami nad nowym longplayem. Tym razem na nagrania udali się do Teksasu, gdzie przebywali do listopada 2007 roku. Oczywiście, operacja pozostawiła ślad na głosie Tucka, w wyniku czego wokale stały się mniej krzyczane. Metamorfozę, już w oderwaniu od zabiegu, przeszło także i brzmienie formacji. - Muzyka, którą stworzyliśmy z pewnością jest znacznie cięższa od tej z debiutu - zapewniał Michael w rozmowie z About.com. - To ciężki krążek, ale z pewnością ma też w sobie przebojowy potencjał, co jest akurat bardzo fajną sprawą. Gotowe dzieło otrzymało tytuł "Scream Aim Fire" i powędrowało na sklepowe półki w styczniu 2008 roku. Płyta, została przyjęta jeszcze lepiej od poprzedniczki - w Stanach Zjednoczonych w pierwszym tygodniu rozeszło się ponad 50 tysięcy egzemplarzy, dzięki czemu na tamtym rynku zadebiutowała na 4. pozycji zestawienia "Billboardu". Wydaniu zestawu towarzyszyła także, pokaźna trasa koncertowa obejmująca Amerykę Północną, Australię i Europę - tym razem muzycy grali z m.in. Avenged Sevenfold czy Lacuna Coil.

Na początku 2009 roku członkowie formacji zabrali się za komponowanie materiału na trzeci w dorobku krążek "Fever". Na producenta dzieła muzycy wybrali Dona Gilmore'a, znanego ze współpracy z zespołami Linkin Park i Good Charlotte. Praca nad dziełem miała inny charakter niż dotychczas - nie tylko jednak z powodu nowego realizatora. - Zazwyczaj piszemy i nagrywamy jakieś 14 kawałków, i później muszę pomyśleć nad liniami wokalnymi - opowiadał Tuck w rozmowie z "Metal Hammerem". - Tym razem staram się pisać wokale w tym samym czasie co muzykę, jest więc inaczej. Kolejną zmianą była rezygnacja z ballad. - Nie zależało nam na osiągnięciu czegoś konkretnego, ale przeanalizowaliśmy nasze poprzednie płyty, to co nam wyszło i nie wyszło i na podstawie tego staraliśmy się stworzyć najlepszy longplay na jaki nas stać - dodał Tuck w wywiadzie dla Rocksound.tv. Z pracami muzycy uwinęli się do końca grudnia 2009 roku, dzieło ukazało się na wiosnę kolejnego roku. Na pierwszym singlu promującym zestaw znalazła się kompozycja "Begging for Mercy", którą fani zespołu mogli nieodpłatnie pobrać z oficjalnej strony swoich ulubieńców. Z okazji premiery krążka, grupa zagrała specjalny, sekretny koncert w Londynie, następnie rozpoczęła tournée po Stanach Zjednoczonych. W lipcu 2011 roku formacja miała po raz pierwszy zagrać dla polskiej publiczności w warszawskim klubie Progresja. Miała, bo na kilka tygodni przed, koncert (a także kilka innych) został odwołany. - Bullet For My Valentine musiało odwołać kilka wcześniej zaplanowanych, lipcowych koncertów między festiwalami z powodu problemów osobistych jednego z członków zespołu - poinformował w specjalnym oświadczeniu management zespołu.

W październiku 2011 roku Matt zdradził, iż z kilkoma innymi muzykami założył nowy metalowy projekt. - W tym momencie jest nas trzech, ale w przyszłości będzie to minimum kwartet - tłumaczył. - To będzie coś bardziej w stylu Slipknot, Pantery, czyli metal jak cholera. Chcemy odejść od melodii i nie oglądać się na nic ani na nikogo. Nie jest moim celem powtarzanie formuły Bullet For My Valentine, co byłoby bardzo łatwe, chcę zrobić coś innego, wręcz niedorzecznego, bez względu na to, co ludzie pomyślą. Poboczny projekt wokalisty, nie wpłynął jednak na działalność macierzystej formacji, bo artyści pod koniec 2011 roku rozpoczęli prace nad czwartym w dorobku albumem. W trakcie prac zespół sięgnął także po kilka kompozycji, które zostały z sesji do "Fever". Jak zapowiedzieli artyści, stylistycznie będzie on kontynuacją tego longplaya.

W październiku 2012 zespół ujawnił tytułowy singiel z płyty - utwór "Temper Temper" we wpływowym serwisie internetowym Artists Direct otrzymał 5 gwiazdek, a napisano w nim, że: „Bullet For My Valentine ujawnili nowy metolowy klasyk, który jest jednocześnie mocny i hipnotyzujący. Ta płyta może być ich „The Black Album" i umocnić ich pozycję jako królów gatunku w XXI wieku." Pierwszy oficjalny singiel "Riot" również został świetnie przyjęty - kolejne 5 gwiazdek i potwierdzenie wcześniejszej teorii: "Temper Temper" już teraz wydaje się być punktem zwrotnym w karierze zespołu.

„To jak ten moment kiedy Megadeath wydało "Countdown To Extinction", Metallica "The Black Album" czy Pantera "Vulgar Display Of Power". (...) Walka o metalową supremację trwa od dawna i to Bullet For My Valentine ją wygrywa." - Rick Florino.

Płyta „Temper Temper" została wyprodukowana przez Dona Gilmore'a, znanego ze współpracy z Linkin Park i Pearl Jam. Płyta ukaże się w dwóch edycjach: na podstawowej znajduje się 11 nowych utworów; na edycji deluxe są trzy dodatkowe utwory, w tym wykonane na żywo w BBC Radio 1 Live Lounge "Whole Lotta Noise" i "Scream Aim Fire".

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Bullet For My Valentine to walijska formacja metalowa powstała pod koniec lat 90. Styl formacji zainspirowany jest dokonaniami zespołów Metallica, Iron Maiden czy Slayer. Kapela Bullet For My Valentin zadebiutowała w 2005 roku krążkiem "The Poison". Początki Bullet For My Valentine sięgają końcówki zeszłego stulecia.