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Metal - Released February 26, 2021 | Epitaph

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This English group has an intriguing trajectory, marked by certain stylistic choices that almost sank their career before paying off once they’d sorted out the genres. While still the standard-bearers of an aggressive metalcore with songs boasting a more melodic post-hardcore soul, Architects have long since evolved beyond their more technical and convoluted early compositions to allow the more accessible choruses to breathe. The tragic loss of guitarist Tom Searle in 2016 after a fierce three-year battle with cancer did not spell the end of the British band led by drummer Dan Searle, his twin brother. Architects turned the grief into a source of inspiration and relaunched themselves better than ever with their eighth album, Holy Hell in 2018. For Those That Wish To Exist is the second album recorded by the band since the death of Searle (with Dan the sole remaining original member). The pain and rage that roared through Holy Hell and helped them mourn have mutated into a kind of despair fuelled by a very gloomy observation about the inability of human beings to save the planet and take up their responsibilities. Committed to various environmental defense movements (Architects are closely linked to the Sea Shepherd organisation), the Brighton combo delivers an album that does not directly attack the institutions in place, but is more like sincere self-criticism, taking into account what each of us should have done before blaming others. The message is delivered with a massive guitar sound fused with electronic ingredients, making Architects’ sound more accessible, grandiose (and even cinematic) than ever. While still rocking the beefy riffs (Animals), the group fully embraces its melodic side in Black Lungs and Giving Blood with choruses braced by synthetic layers that wouldn’t be out of place in Linkin Park. Without sounding industrial, those omnipresent keyboards (Dead Butterflies, An Ordinary Extinction) occasionally evoke the work of countrymen like Enter Shikari, proof that the group is utterly of its era. So it’s no coincidence that Winston McCall, singer of Parkway Drive (the two bands share a label) drops by for a vocal in Impermanence. More surprisingly, Mike Kerr’s (Royal Blood) excellent vocal in Little Wonder shows how much more porous the boundaries between the genres are than might be believed (Simon Neil, singer of Biffy Clyro also show up for a howl later on the album). The old, more radical group is long in the rearview. Whoever decided to flirt with post-hardcore and catchy choruses made the right call. Far more accessible than in the past, Architect’s music will reach an increasingly large audience rather than bringing back older fans lost several albums ago. That’s a winning bet given the catchy aspect of the new songs. Architects were already a staple of melodic metalcore. They’re well on their way to becoming one of the genre’s undisputed leaders. © Chief Brody/Qobuz
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Metal - Released November 9, 2018 | Epitaph

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Metal - Released October 20, 2020 | Epitaph

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Rock - Released May 27, 2016 | Epitaph

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Metal - Released March 11, 2014 | Epitaph

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Metal - Released December 2, 2020 | Epitaph

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Pop - Released May 28, 2013 | Century Media

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Metal - Released July 13, 2012 | Century Media

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Metal - Released January 20, 2021 | Epitaph

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Metal - Released July 13, 2009 | Century Media

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Metal - Released February 8, 2021 | Epitaph

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Metal - Released May 15, 2006 | In At The Deep End

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Rock - Released November 15, 2019 | Epitaph

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Rock - Released July 13, 2018 | Epitaph

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Metal - Released July 13, 2008 | Century Media

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Alternative & Indie - Released February 21, 2005 | Anodyne Records