It’s been little over a year
since Brighton big-shots Architects released their last album, ‘The Here And
Now’, which gained mixed reviews across the board and split fans almost
straight down the middle, with some unhappy that it skimped on the brutality of
previous releases such as ‘Ruin’ and ‘Hollow Crown’ and others overjoyed by the
sudden injection of melody. Perhaps wanting to keep both fans happy, the band have
dropped ‘Daybreaker’, a record that looks to combine both sides of the
Architects coin without threatening to alienate one of them. The metalcore
quintet have reached such heights of success in the last 18 months that it
would appear they have the freedom to make exactly the kind of album they want,
and as it would seem that album is as equally in homage to their sound of years
gone by as it is progressive and new. The real question regards whether it all
works when thrown into the melting pot, because this could be a pinnacle album
for the band if it all comes together.
‘The Bitter End’ starts
proceedings, with distant chiming creating a backdrop for Sam Carter’s soft
vocals to set the scene, which straight away feels like it something that is
carrying on from exactly the point ‘The Here And Now’ left off. ‘Daybreaker’ is
an entirely different beast, however, and as space-age melodies bizarrely
dance, a steady beat and vibrant guitars growl, it’s clear that Architects mean
business. Screamed vocals flourish and act as preparation for the insanity of
‘Alpha Omega’, which has impeccable technical riffing, thunderous drums and
some of the best shredding I’ve heard from this band. It’s a song full of angst
and fury, the vocals being spat out like a bad taste and the chorus (awash with
an atheist message) wailing incessantly. It has great balance and is evidence
that Architects have brought their A game for this record, which so far is
powerful and precise.
‘Outsider Heart’ tightens the
unmistakable progressive sound of Architects and presents it is a new light,
which is both bold and vigorous. The addition of Drew York of Stray From The
Path on guest vocal duty adds the extra ‘oomph’ that makes this track
memorable. Melodies and guitars compliment each other very well, building up to
the next track, ‘These Colours Don’t Run’, in a very effective way. This song
is another technically excellent hard-hitter with substance behind the vocals
(a familiar theme exploring the state of our economy) and an addictive
atmosphere which brings a real edge to the track. It’s malevolent and intense,
which makes it the perfect track for a single (this was the second one to be released
from ‘Daybreaker’). The variety of rhythms and roar of ‘you fucking pigs!’
before a rousing breakdown is really breath-taking.
‘Daybreak’ (a title track of
sorts and not an homage to the ITV morning show – I hope) is high-octane with
heavy roots and a clear melodic streak running through it, which adds extra
gloss to the revisited memories of ‘The Here And Now’ but doesn’t forget what was explored in the
likes of ‘Hollow Crown’. It’s simply a great elaboration on an already
established sound, which packs a punch but doesn’t knock you off your feet.
‘Truth, Be Told’ allows the pedal to come off the gas and the most chilled
track from the album to shine through. It has an uplifting chorus and some well
executed melodic moments but doesn’t quite hit the soaring heights of anything
like ‘Heartburn’ from ‘The Here And Now’. It’s a slow burn but unfortunately
doesn’t build to anything extraordinary.
‘Even If You Win, You’re Still A
Rat’ is back to the heavy grind. It’s another hardcore track featuring more
guest vocals, this time from Bring Me The Horizon’s Oli Sykes. It’s a solid
song with some real venom, although it ends up being quite forgettable (the cameo
from Sykes even more so). ‘Behind The Throne’ is haunting with electronic keys,
whirrs and synths. It’s soft, angelic and provides a soothing interlude before
the final assault of ‘Daybreaker’.
‘Devil’s Island’ was the first we
heard of ‘Daybreaker’ back at the tail end of 2011. It’s a manifestation of
anger towards the current state of the UK, socially, democratically and
financially. It’s relevant to listener and the band alike, the diversity in
their message evident. It’s both clinical and devastating, a real organic song
full of scorn and spite. ‘Feather of Lead’ is another fast paced hardcore
track, but doesn’t have as much momentum as previous heavy moments on this record.
Final track ‘Unbeliever’ (which isn’t my favourite song title on this album,
that’s for sure) is a fitting end to an accomplished record. It’s another slow
build with softly sung vocals and echoing instrumentals. It steps up a gear
with screams from Carter and heavier beats, evoking emotion for its final push.
‘Daybreaker’ is an album where
Architects attempt to reclaim their sound, but keep the recent memories of ‘The
Here And Now’ in the forefront at all times. It’s an enjoyable album with some
intense moments, excellent heavy noise and profound lyrical themes. It’s a
sincere record with crushing riffs aplenty, and although it’s far from their
best release to date, it will please old and new fans alike.
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