Impenetrable, Outraged, And Unrelenting: ‘The Sky, The Earth & All Between’ Is Architects Unleashed

After three years, Architects have returned with their eleventh studio release, ‘The Sky, The Earth & All Between’, a viscerally and sonically strong album driven by urgency. 

It perfectly encapsulates the evolution of the Brighton metalcore titans into a new animal entirely, one gnawing at its confines and breaking against them with every track.

The album begins with ‘Elegy’, a track that effortlessly captures the essence of the entire album. From the pulsating, guitar-driven introduction, paired with rising synths and frontman Sam Carter's melodic vocals, the tension builds slowly before unfurling into unbridled anarchy. With guttural screams, gripping repetitive refrains, and pummeling riffs that touch upon the style of ‘Nihilist’ (2016), its thematic exploration of defiance is heard loud and clear, confidence and bravado entrenched in every line.

Delicately falling away, the album shifts gears considerably with the emergence of the third single, ‘Whiplash’. And it's completely understandable why, as it’s a perfect snapshot of the band doing what they do best. “It’s a bit of a cynical commentary,” says Dan Searle on the single, “[it explores] how we’re incapable of treating each other with respect when we have a difference in opinion and see the world in a different way”. 

From berating blast beats and a breakdown destined to insight violence amongst live crowds to high-pitched melodic vocals, it deftly balances the extremes, bookmarked by the perfect cultural reference with a sample of Gordon Ramsay, who delivers every bit of venom the band has sought to achieve in the track.

The raging sense of urgency is continued in the album’s third track, ‘Blackhole’, a song that revisits themes of the band’s earlier catalogue, exploring mortality and everyday battles without lifting their foot from the pedal. It ticks every box and then some for Architects. Anthemic chorus? Yes. Blistering drums? Yes. Cinematic music video? Of course. It even manages to add an old-school guitar solo into the mix courtesy of Adam Christianson, which has all the qualities of an 80s rock solo, melding perfectly with the tech metal riffs that follow it. A clear standout of the album, for very good reason.

Breaking from this sound and demonstrating the band’s diverse experimentalism is ‘Everything Ends’, where we hear producer Jordan Fish’s influence most clearly. By far the album's most pop-sounding offering, it by no means detracts from the track's impact. Carter’s vocals soar between the spacious synths and permeating drum beats for an incredibly cathartic result. 

Lyrically, the track is incredibly raw with lines like “Don't stand me up to reason all over again/'Cause I'm dying here, but evеrything ends”, capturing the sense of hopelessness that can accompany troubling times while still carrying an undercurrent of resilience; a quality carried from beginning to end in this album. 

One thing you can praise Architects for in this album is their ability to keep listeners on their toes, and that is precisely what happens as ‘Brain Dead’ roars into life following the relative calm. Roaring into life, packed with punk and hardcore elements, ‘Brain Dead’ is a whirlwind, battering the senses with thundering riffs and emotionally charged vocal delivery from both Carter and guest vocalists House of Protection, who relay their punk-powered energy into the track. 

Combining sounds of modern metalcore with traditional punk and hardcore elements, it’s the most fun track we hear on the album, delving into modern life and social disillusionment. It doesn’t take itself seriously, which makes it so great; from the staggering build-up of the blistering breakdown to the lyrical search of becoming numb, as the title suggests, it’s tongue-in-cheek without compromising on sound. 

Throughout the album, the band's external influences are evident, from the electronic pulse of ‘Blackhole’, the sensual grit of ‘Evil Eyes’ that channels Deftones in its ability to balance melodic balladry with an angered barrage of vocals to ‘Landmines’ Linkin Park-esque delivery. 

Sonically, the track continues to disorient and bombard listeners, synths reverberating off every drum hit as Carter channels his inner Chester Bennington in the track’s sprawling, anthemic chorus. Paired with distorted lyrics and searing breakdown, the technical influence accompanies lyrics that explore self-destructive tendencies.

The catchy lyrics of ‘Judgement Day’ accompanied by its industrial sound, stand out from what we’d expect from the band, paired with the haunting guest vocals of Amira Elfeky and production by Fish, create a broodiness that we were yet to hear on the previous tracks. Packed with bounce and technical flourishes, it only strengthens the claim that Architects are not the band they once were - and it’s something we should be grateful for. 

Of course, no song proves this statement more than ‘Seeing Red’, the single that ushered in the new era of Architects. Packed with volatility and reactivity, it thrashes against the musical constraints placed in by fans to comply with a particular sound. Lyrics such as “You’ve really gotta wonder how I sleep at night” are delivered with the perfect blend of angst and sarcasm and work perfectly with addictive lead lines, volatile breakdowns, and anthemic synths.

Following a song like ‘Seeing Red’ is a tough feat, but ‘Chandelier’ takes this in its stride with an emotionally dense offering that encapsulates how the world is ever-growing and changing despite humanity. A “purpose-built album-closer”, as told by Searle, the track perfectly balances the solemnity of endings with utter victorious beauty, heard in the piano accompaniment and the gentleness of Carter’s delivery. 

‘The Sky, The Earth & All Between’ is Architects at top form and is nothing short of a sonic masterpiece. It’s a masterclass in pushing boundaries and diversifying your sound without losing the signature trademarks that make you great. It’s profound, fun, impactful, relentless, and at times beautiful, driven by an unquestionably extraordinary performance from Carter.  

Not only did it see the return of the “blegh” (although not in sincerity), it also sees Architects continue to shape metalcore even now in 2025. 

Megan-Louise Burnham

@mgn.lb

Image: ‘The Sky, The Earth & All Between’ Official Album Cover

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