Members of Architects were once the godfathers of the modern metalcore scene. The band’s 2016 album “All Our Gods Have Abandoned Us” — an incredibly intense journey through depression, hopelessness and the uncertainty of death — was critically acclaimed, and generally regarded as one of the defining albums of the genre. The band’s crushing riffs, tortured vocals, Daft Punk-esque electronics and stunning ability to express emotion in a pure fashion cemented the album as a cornerstone of the style.
Now — almost nine years after the death of its guitarist, another beloved album, controversial tweets and a less beloved album — Architects is back once again. Produced by Jordan Fish of the band Bring Me The Horizon, the newest album “The Sky, The Earth, & All Between” seems to have been created with something to prove, having to live up to the expectations of die-hard fans and prove to metalcore elitists that the group hasn’t gone soft.
“Elegy” starts out with a delicate synthesizer melody, segueing into heavy bass drops and erratic Breakcore hi-hats while vocalist Sam Carter croons about regret. Out of nowhere, it erupts into a frenzied sprint of machine gun drums. The rest of the song is undeniably Architects: big choruses, chugging verse riffs and heavy breakdowns. “Whiplash” continues the sonic storm, swirling around a nu metal riff that would make Korn guitarist James “Munky” Shaffer blush. Carter points a finger at those who are sitting idly by and letting society burn: “Did you bury your neighbour in the earthquake? / Were you sitting by a smoking gun? / Light a fire in the shrine, we’re the absolute / Christ preaching to the fucking scum.” Themes of despair over a dying world continues on “Everything Ends,” where a melancholy piano prelude laments the collapse of everything: “If I’m left alone, I’m bound to drown / Don’t you hear the silence, broken by the siren sound?”
“Judgement Day” sounds like an old-school industrial song. TikTok rocker Amira Elfeky is featured on the track, trading whispered nursery rhyme-style verses with Carter: “Rain, rain, go away / Leave me in binary / They say, ‘It’s okay’ / It’s only judgement day.” The song concludes with both vocalists harmonizing screams. “Brain Dead” starts out with a familiar hardcore circle pit into a Nine Inch Nails verse. Former FEVER 333 and current House of Protection members add some extra ferocity in the mix, making for the shortest yet the most fun and undoubtedly true-to-genre song on the album.
“Curse” is an epic battle anthem, with a chorus rousing enough to rival the best Marvel Cinematic Universe score, and the most truly Architects song from this album. Its galloping guitar riff feels like a callback to the 2016 album opener “Nihilist.” Carter returns to his signature tortured scream for the verses — a nostalgic sound for Architects OGs.
The mix, however, is messy. When produced well, low-tuned guitars sound distinct from a song’s bass track. On this album, especially its verses, the sound is a lumpy mass of noise. Even the drums seem to get lost a bit, with “Blackhole” being the best example. The album’s production feels like it highlights vocals more than the track of each song, leading to something cohesive. On powerful, chorus-heavy songs, this doesn’t matter much, but when guitarist Adam Christianson tries to showcase his technical skill, the production leaves more to be desired.
However, the album’s nods to classic 90s nu metal and industrial rock while keeping in the spirit of metalcore are refreshing, with breakbeat samples, bouncy guitars and abrasive electronics. The features across the album aren’t overwhelming, instead enriching each song. Carter shows off his vocal techniques, switching between cinematic choruses, fry screams and gutturals seamlessly. Christianson proves that he can write a classic metalcore riff on songs like “Curse” and “Landmines.” The use of electronics adds a layer of suspense to the record, like a bow on top. The band continues to paint its stories of anguish and self-discovery in a world that is constantly changing and attempting to hold themselves strong in the face of loss and dejection.
Architects seems to have found a solid middle ground between its more radio-friendly, experimental industrial rock and its classic metalcore sound. It has something for everyone — maybe not entirely appeasing old fans, but certainly gaining new ones. “The Sky, The Earth & All Between” feels like a redefining of Architects in its new era, and a heartfelt tribute to its origins. If you’re new to Architects or to metalcore in general, this is a perfect starter album, sampling different eras to take you on a 40-minute trip through its desolate soundscape.
Contact Roshan Rao at [email protected].