There’s a particular kind of tension that runs through Architects‘ new album – the sound of a band caught between worlds. On The Sky, The Earth & All Between, the Brighton metalcore outfit seems to be wrestling with their identity in real-time, trying to reconcile their technical, aggressive past with their more recent arena-rock ambitions. It’s a balancing act that produces moments of genuine brilliance alongside passages that feel oddly calculated.
The album opens with “Elegy,” a track that establishes the record’s sonic palette: pristine production, cinematic scope, and Sam Carter’s remarkably versatile vocals shifting between melodic vulnerability and guttural intensity. The song builds methodically, layering electronic textures beneath the guitars until it reaches its inevitable explosive chorus. It’s effective, if somewhat predictable – a statement of intent that hints at the tug-of-war to come.
When Architects lean fully into heaviness, as they do on “Blackhole,” the results can be thrilling. The track’s tightly coiled riffs and Adam Christianson’s searing guitar solo feel like a deliberate nod to longtime fans, a reminder that beneath the polished exterior, this is still a band capable of technical ferocity. It’s one of several moments where the group seems to rediscover the mathematical precision that once defined them.
Yet there’s a noticeable defensiveness lurking in places. “Seeing Red” delivers the promised heaviness many fans have been craving, but its lyrical content reads like a direct response to online critics of the band’s evolving sound. When Carter roars “You wanted more, here’s what you asked for,” the meta-commentary creates an unnecessary distance, making what should be a visceral experience feel oddly self-conscious.
Working with Jordan Fish (formerly of Bring Me the Horizon) and producer Zakk Cervini has resulted in an album that sounds immaculate – perhaps too immaculate at times. Every element is meticulously placed, every rough edge smoothed away. This approach works wonders on the album’s more melodic moments but occasionally neuters the aggression on tracks like “Brain Dead” and “Judgement Day,” where industrial flourishes and guest vocals from House of Protection and Amira Elfesky respectively add welcome texture but can’t quite overcome the clinical precision of the mix.
The production choices reflect a larger issue with The Sky, The Earth & All Between – it often feels like music created with an audience reaction in mind rather than a pure creative expression. You can almost visualize the festival crowds as “Everything Ends” reaches its soaring chorus, or hear the singalongs during the melodic passages of “Whiplash.” This isn’t inherently problematic – plenty of great music is written with performance in mind – but there are moments where the calculation shows through a bit too clearly.
Dan Searle’s drumming remains a highlight throughout, providing a foundation that’s both technically impressive and emotionally resonant. His work on “Judgement Day” in particular demonstrates a remarkable ability to balance mechanical precision with human feel – no small feat given the track’s electronic elements and rigid structure.
Perhaps the most interesting aspect of the album is how it documents a band in transition. Architects have been moving toward a more accessible sound for years now, but The Sky, The Earth & All Between suggests they’re not quite ready to abandon their heavier roots entirely. This creates a fascinating tension, but also leads to some identity confusion. The band seems most confident when they commit fully to either extreme – either embracing the technical heaviness of their past or pushing forward into more melodic territory.
Lyrically, the album tackles familiar themes of existential angst, resilience, and societal critique, though the aforementioned defensive posture occasionally undercuts the impact. Carter remains one of metalcore’s most compelling vocalists, capable of selling even the most well-worn sentiments with conviction. His performance on “Elegy” navigates the track’s dynamic shifts with remarkable control, while his raw aggression on “Blackhole” provides one of the album’s most cathartic moments.
What’s most revealing about The Sky, The Earth & All Between is how it positions Architects in 2025 – as a band caught between worlds, trying to satisfy old fans while continuing to expand their horizons. It’s not an easy line to walk, and the strain occasionally shows. But when they find the right balance, as they do on the album’s more confident tracks, they remind us why they’ve remained such an enduring presence in metalcore.
The Sky, The Earth & All Between Tracklist:
01. Elegy
02. Whiplash
03. Blackhole
04. Everything Ends
05. Brain Dead (feat. House of Protection)
06. Evil Eyes
07. Landmines
08. Judgement Day (feat. Amira Elfeky)
09. Broken Mirror
10. Curse
11. Seeing Red
12. Chandelier
