Metal with orchestras isn’t a new thing. The likes of Metallica and more recently Bring Me The Horizon have implemented a multitude of instruments to their bands and have had great deals of success with it. Now is the time of Architects, who have reached a career high with their latest album and first official UK Number One with “For Those That Wish To Exist”. The experience was grandiose in its original form, but with the backing of the Parallax Orchestra in the world famous Abbey Road studios, it’s elevated into something even more special.
Taken from their livestream back in December last year, fans have been begging for a physical release of the album in full and they have got what they craved. “Do You Dream Of Armageddon?” doesn’t have the same pounding drums introducing proceedings as the original, instead it serves as more of a prologue to an epic movie as the delicate strings and brass give an idea of the scale which is to come.
We then get our first real taste of what things sound like with the full band on “Black Lungs”. I think I counted that I was seven seconds into the song before getting chills and this happened multiple times throughout. The breakdowns hit in a different way than usual; instead of wanting to be in the middle of a sweaty pit, you feel as though you want gliding on air. That’s not to say that they don’t hit hard, the certainly still do. “Discourse Is Dead” has growls so heavy that it’s likely that the walls of Abbey Road haven’t heard anything like it before.
Released along with the announcement of the album back in January, “Impermanence” is an example of one of the original songs being given a whole new energy. Architects are already known for being an incendiary live act; but one thing that stands out throughout the recording is the range that Carter can reach throughout. If you take the likes of “Flight With Feathers” for example, it’s a far cry from anything in their early days and yet now feels completely in keeping with their aesthetic. “Goliath” hits as large as its title suggests. Carter takes charge of the unhinged screams that Simon Neil so effortlessly took on the album and sounds like a man possessed in the best possible way.
It almost goes without saying that the production is absolutely top notch. Every single violin, trumpet and chime is crystal clear in the mix; at no point do you ever feel as though one instrument is fighting for the limelight- everything compliments each other seamlessly. If any of the elements showcased in this record are brought to their live shows in a few months time, they are certainly going to be something extremely memorable.
Architects have managed to conquer the mainstream without ever sacrificing what makes them so exciting as a band. They tried it previously a decade ago with “Day In Day Out” and in my opinion were unfairly criticised for it. However, they’ve now managed to produce something that I think that even non-metal fans can enjoy. It almost feels like a new start for a band that have been going strong for years and their ambitions are only going to get higher.