Change is nothing new for Architects. They started out playing mathcore, drawing heavily from acts like The Dillinger Escape Plan, before slowly shifting to take influence from the growing djent movement. They even did the whole sellout thing in 2011 with The Here And Now, which featured a post-hardcore sound. They quickly swung back the following year with Daybreaker, showcasing a new approach that combined the accessibility of their previous release with a returning emphasis on heaviness. From then, they began a four-album run ending with 2018’s Holy Hell that is widely considered their peak by fans.
With the release of “Animals,” the first single off their upcoming record For Those That Wish To Exist in 2020, fans were understandably perplexed. Gone were the trademark technical riffs, fast drums, and vocalist Sam Carter’s energetic delivery. In their place was a striking pivot towards industrial electronics and laid-back, pop-oriented vocals. The full record felt like a stunted transition for Architects. It has some of their lightest, least metal songs ever, but also a couple tracks that preserved the sound fans expected. The band did not take the ensuing criticism well, although I can’t blame them as many so-called “supporters” blamed the death of longtime guitarist Tom Searle for their sudden sound shift. A bit of a low blow, even if it must’ve been hard to continue down the path that he helped pioneer. The Classic Symptoms Of A Broken Spirit arrived only two years later, marking a complete transition, and honestly could be a collection of radio single outtakes the band wanted to get rid of. Old fans were dismayed at this complete 180, but the band had grown so much that they were able to successfully embrace a brand new audience.
Now they have given us their new record The Sky, the Earth & All Between. The first single, “Seeing Red,” saw them revisiting a heavier style. Lyrically, it directly called out fans mad that they aren’t as angry or “brutal” anymore. The release build up afterwards has been tense. Each new single reintroduced heaviness to the modern Architects formula, appeasing many fans, although it just didn’t sound right. The songs harbor plenty of chugs and double pedal, but I can’t shake the feeling that it’s out of obligation, rather than artistic intent.
Songs like “Everything Ends” are eerily akin to Linkin Park if you took away any organic emotion by slapping way too much processing on the vocals. They’ve even got the nostalgic 2000s keyboard going in the background. This isn’t a new trend either, as Bring Me The Horizon have been chasing a similar sound for quite a long time. It makes sense that former producer and general electronics guy for Bring Me The Horizon, Jordan Fish, contributed heavily to this record. Next track “Brain Dead” starts out with some much-needed punk energy, but they don’t let that last too long as the song immediately shoves electronics and an awkward chorus in. It ends with more stilted heaviness and generic bendy nu-metal type riffs that are a far cry from the sophistication of their older songs.
“Landmines” keeps up the rip-off Linkin Park meets Bring Me The Horizon worship with a chorus purpose-built for festivals. They pulled a real bait and switch here with the singles, as they’re easily the heaviest cuts. “Broken Mirror” is yet another radio track, which now seems like half the record. Limp, minimalist verses that are just drums, light synths, and Carter’s vocals, before giving way to a chorus that could've been cut and pasted onto any other track. Get ready for some djenting before they bring back the chorus a third time.
Another low-point on this record is the production and mix. Jordan Fish crafted innovative, fresh ideas in his previous band, but here we find him more or less retreading ground to accompany a bunch of tired riffs. On the mixing front, Architects have once again worked alongside Zakk Cervini, who has unfortunately become the go-to guy for all of these big budget metal acts. Embrace the quantized, inarticulate drum samples you’ve heard a million times before, the programmed bass, and guitars that have been so carefully cut up and edited to the grid that they might as well be MIDI, because that’s all you’re getting for the next decade if you don’t stray beyond the top charts.
The Sky, the Earth & All Between is also the first time we’ve heard vocalist Sam Carter introducing low growls to his repertoire. This was welcomed as an innovation, but I find them immensely grating. They sound like a kid in high school mocking what he thinks “death metal” vocals are: all theatrics and no emotion. For a long time, Carter refused to wander too far from his signature higher yell, citing that it brought a certain weight to his lyrics, and I tend to agree. The choice to abandon this philosophy, coupled with all the other questionable shifts on this record, makes me think slightly less of the band creatively. Sam is a talented vocalist, but I just don’t think he has the kind of singing voice necessary to propel their new direction.
Bottom Line: Architects are scraping the barrel with The Sky, the Earth & All Between. No one is left satisfied with this desperate plea to appease fans with the heavier stuff while simultaneously going even further down a pop metal direction. Jordan Fish helps them write the best Bring Me The Horizon b-sides we’ve heard since Poppy’s last record, except now it’s djent!
83 comments
Post CommentI don't think whoever reviewed this should review albums anymore. 😂
Bring back D. Rod for reviews. These other people suck at them.
I wanna see the writer make a better album bc they sure as hell cant🤣
this is a deeply unusual, yet embarrassing piece of writing.
Architects fans are filling their diapers in the comments. The band sucks and wrote a terrible re-tread of a record.
Except for the latest single released today, I think the rest sounds like the best music since Holy Hell and almost a true return to form. Either the rest of the album sounds like the latest single or the reviewer is trying to earn scene points.
The 3 might be a bit brutal, i agree with a lot of points from the singles I've heard. The four albums Daybreaker to Holy Hell is inarguably their peak. However I think The Here And Now is an easy target for people. The new songs do sound rehashed, Seeing Red lyrically is a complete copy of Naysayer from 10 years ago. The death growl comments I wouldn't put the same way, but I am not sure they really suit Sam Carter's voice. Maybe it's just the production, I don't know.
All the people slaying the review despite them not having heard the album yet is pretty cringe. Fanboy culture ridding people of any form of objectivity. Blackhole is a extremely overproduced so that's one point from the review I can confidently agree with.
Genuinely, which one of the band shagged this reviewer's mum? Absolute hit piece. Into the sea with you.
Extremely bitter and negative review - very little consideration given to the creative expression of the artists. May not be to your taste, however you can still be respectful to those who have poured their time, energy & emotion into this project.
Why am I not surprised I'd never heard of this website until I saw someone trash talking it on X for this review?
Zulu is literally 3 times better. Heard it here first.
I agree peak architects with the 4 album run from daybreak to holy hell was their pinnacle of their work, but I also really like their new sound too. I'm not a purist or anything call me a poser all you want if I like a song I'll like it, it's not that deep. I also really liked classic symptoms even if it's a complete different sound even from for those that wish. I also really enjoy the singles from this new album.
I agree peak architects with the 4 album run from daybreak to holy hell was their pinnacle of their work, but I also really like their new sound too. I'm not a purist or anything call me a poser all you want if I like a song I'll like it, it's not that deep. I also really liked classic symptoms even if it's a complete different sound even from for those that wish. I also really enjoy the singles from this new album. Okay, poser.
Tell me you're a miserable bastard in one review, or less. Made it 2 to 3 paragraphs into your snarky pile of excrement. Those who can't do are edgy writers. Put the AI on this, it could do a better job that lil boi sunshine.
If they are widely considered to have peaked at holy hell, why are basically all of their most popular songs from the last 3 albums? The only thing that is immensely grating here is your shite writing.
Just when i start losing all faith in this website and new ownership you go and do this.
If they are widely considered to have peaked at holy hell, why are basically all of their most popular songs from the last 3 albums? The only thing that is immensely grating here is your shite writing. Shite??? Eurocuck spotted!!!!
I'm really loving every single from the new album so far. I'm guessing this guy hasnt
Sounds like these guys and the new producers are... "RENT FREE, LIVIN IN YA HEAD"
Honestly feel like this guy just doesn't really listen to Architects. They've used lows before, and you've seen him incorporate them more and more lately (partially i think to them being easier on his vocals at the moment). To say this is the first time they've used them, before lazily using the rehashed Linkin Park and Being Me accusations just suggests an amateurish writer doing what he's accusing the band of; minimal effort in the attempt of a big hit.
Architects's pinnacle album was Hollow Crown. They've sadly lost what made them exciting 15 years ago
So you rated it a 3, then took the review down, then put the page back up with the score as "N/A" and act like the review is forthcoming. Lol wtf is going on?
not hard to figure out, review prob under embargo till release date, lg messed up and released early, then moved to Friday.
Heard the first song Everything End.F miserable. Just Awful. Where's the old BM 666 Flush it down the toilet guy bad.
Clowns at lambgoat once again proving they have absolutely no direction and no one checking up on shit. Your review was trash. Now you back pedaled, meaning you have no spine and will cave to which ever way the wind blows. But what blows harder than the wind? You do lambgoat and your merry clown men
This place is a joke. Pls, everyone contact your local representatives.
This is the only objectively true take: The comments on this article are full of redditors. Review got posted there within seconds. None of these people actually post here regularly.
Didn't know fans of this band were such blue pill snorting gays. Waaaa, someone on the internet gave an opinion I don't like. Waaaaaaaaa
This comment section got astroturfed like crazy. Someone totally sent this to their lib music group chat under special orders to make sure no one critiques their gay singing band
What a bitch ass move removing the 3 you had it rated originally
Did the vocalist piss and moan again because people said mean words?
You retards should have just deleted the entire thread if you wanna be a bitch and backtrack on it
Lmao so you're just gonna redo your shitty review now like nothing happened? Shaye is the new Eliot. How pathetic.
Solid review, a lot of good points that are hard to disagree with. There are a lot of shitty reviews floating around out there but this is one of the more truthful I've seen. Personally I love these guys and I've sucked the drummers veined cock twice now at with the VIP pass honestly some of the best tasting cum I've had before, bro must be chugging pineapple juice at every meal.
Architects, in my mind, suffers from "Paramore Syndrome". They created critically acclaimed albums that defined the sound and genre for their generation, then, when they felt they didn't have anything more to add to that sound, shifted as a band. That's good, bands are allowed to, and should, change their sound if they think they have something else to offer sonically. What they SHOULDN'T do, and what Architects and Paramore are both guilty of, is then criticise their fans who got into them because of the genre defining works that the created, and then weren't super into their new sound. Both bands treat it like a personal insult that people fans don't like their new sound, and go out of their way to belittle fans that voice that opinion. Architects plays songs from Holy Hell and before at their live shows because they think they have to, not because they want to. They're not happy with their music that inspired and spoke to so many. Change your sound, but don't be dicks about it.
It was a 3 yesterday for anyone that missed it. Why retract your review?
^ threatened to be sued for breaking contract. access to early release for a positive review.
The new review will be a 9 AKA Zulu level shit. Mark my words.
anonymous 20 hours ago This place is a joke. Pls, everyone contact your local representatives. Done.
So shaye is equally as dumb and worthless as lurk. Congrats
I don't know who Shaye is but holy shit this review sucks and they should consider never sharing another opinion again. Not just on here, just stop sharing opinions altogether. What a dumb c*nt.
The review nailed it with "The songs harbor plenty of chugs and double pedal, but I can't shake the feeling that it's out of obligation, rather than artistic intent." That was my take on it. "Hey guys, see, we can still write heavy parts!!"
Leave it to Lambgoat to score a real metal album a 3 and drop to their knees for the latest Bleeding Through steaming pile of shit. f*ck you Lambgoat reviewers.
srf135 3 hours ago Guys, no one wants to hear your opinions either Hey there Shaye. Your review is a pathetic pile of shit and you would have been better off leaving it deleted. Try hard bundle of sticks
I'm shocked that Lambgoat got embargoed by Epitaph as the review was already up, then removed, now it's back. While this does indeed feel like a "scene-cred" review, any media company Boeing down to a corporation to hold back negative reviews really hurts the integrity of all parties involved.
srf135 3 hours ago Guys, no one wants to hear your opinions either Hey there Shaye. Your review is a pathetic pile of shit and you would have been better off leaving it deleted. Try hard bundle of sticks ha
This band does suck ass. Shaye is just trying to stand out from the other chick who does reviews beer so she rated this super low for the attention
Honestly, this review is spot on. There's not a single part of this album that surprised me, or was in any way interesting. It's generic, bland, and cringe. Sam Carter's never been the best lyricist, but this is an all-time low for him.
I love the band and followed them since their first EP. Sadly, this review painfully is spot on.
Hahahahah did somebody from The band f*ck ur girlfriend?😂😂😂
Review doesn't lie. I liked all their albums besides from the random pop ones. This album is okay, but seems like it's desperate to appease everyone. Music is art and deserves to exist whether you like it or not. However, websites like this that assign a number out of 10 to music... I'm not sure what value they provide.
This band sucks and has always been gay as f*ck. If you listen to this band you take it in the ass with no lube.
The writing for this review is really bad, but the rating is probably correct. Better that than one idiot who rated something a 10 and that piece of shit who rated as I lay dying a 9 and was sucking off Tim Lambesis in the review
This album sounds AI generated. I wouldn't give it a 3 but it's like a poor man's Lorna shore, who is equally terrible
I'd like to start this talk off with a parable. A story, if you will. I was at a college. A second-tier... not an ivy league school, a second choice school... and I was in a class. And there was a student in that class, okay? And the teacher, he was spouting some horrible nonsense, it was something about how gender pronouns are valid - something that everybody knew was false. But if anybody had spoken up, he would've taken extreme joy in failing them. Okay? Nobody spoke up. One person raised his voice. One person started talking. The teacher couldn't believe it; the classroom couldn't believe it either. But in the end, he had logic on his side. And at the end of the day, he proved his point. That student was Ronnie Radke.
Finally had a few days to listen to it a few times. I think it is pretty damned good actually. I didn't like the last single much when it came out but it's really only one of 2 songs in that vein and oddly they both don't bother me at all when listening to the entire album. I think this is easily their best album since Holy Hell, and though that's not saying much, it also is saying a lot at the same time as HH was their best album in my opinion.
I'd like to start this talk off with a parable. A story, if you will. I was at a college. A second-tier... not an ivy league school, a second choice school... and I was in a class. And there was a student in that class, okay? And the teacher, he was spouting some horrible nonsense, it was something about how gender pronouns are valid - something that everybody knew was false. But if anybody had spoken up, he would've taken extreme joy in failing them. Okay? Nobody spoke up. One person raised his voice. One person started talking. The teacher couldn't believe it; the classroom couldn't believe it either. But in the end, he had logic on his side. And at the end of the day, he proved his point. That student was Ronnie Radke.
Imagine if Angloids were as furious about muslims r*ping and taking over their country as they are about this honest score for this sh*tty band
The 2-3 albums after Hollow Crown are almost identical sounding, couldve been recorded in the same sessions. I have no idea what the f*ck the author is talking about with them trying new styles, they've been doing the metalcore with dumb emotional synths thing for close to a decade at this point.
I didn't think you could get less than a 7 on lg