There are genres that are already so corseted in their basic musical construct that much of the output is exact the same sounds: identical predictable structures, immersive moods, immersive riffs. The Metalcore belongs to these genres, with its distinctive scene-thinking that prohibits any progressiveness – the acts that have now mastered the leap into the great halls have either strayed from their origins – just look at Bring Me The Horizon – or evolve their sound from the core away to classic metal, such as Parkway Drive. One band that has managed to constantly increase its fanbase, without getting too far from its original sound, are the Architects from Brighton. “Holy Hell” is the eighth album of the Metalcore group and still manages to stay interesting despite the very scene-typical sound.
Writing a review on “Holy Hell” seems almost impossible without the tragic cancer -Tod of Tom Searle, who as a guitarist not only contributed to the foundation of the band’s sound, but also wrote most of the songs. The demise of the musician – incidentally also the brother of drummer Dan Searle – not only tore a huge hole in every fan heart and the musical core of the band, but also left his bandmates in deep sadness. “Holy Hell” is the direct product of this heartache management process. The lyrics of this symbolic new beginning are mainly on the cap of drummer Searle, the music wrote this largely in collaboration with newcomer Josh Middleton. It would not even be so absurd to talk about a whole new band.
Do not worry, at the core, Architects barely notice this change: Musically, the band does not even do that much different from its predecessors. The musical development takes place entirely within the core – but its limits are fully tested. Thus, the quintet attacks more and more often on strings back, daring sometimes the handle in the electrical box and increasingly uses snappy hardcore grooves. The latter draw especially by the bulky “Modern Misery” and the brutal “The Seventh Circle”. The windmills can already be seen rotating in the concerts.
The band picks up the listener from the string intro of the opener “Death Is Not Defeat” with its twisted guitars over the driving verses of the previous single “Hereafter “And the hopping party” Doomsday “, which was already on the last tour, to the empathetic Closer” Wasted Hymn “on their very own journey of bereavement management and shows again and again, why not for nothing one of the most popular acts of the Genres is. What the four instrumentalists musically deliver here is on a very high level. If Sam Carter, singer of the group, at the end of a string carpet “I’ve got nothing except this wasted hymn. Holy Ghost, nothing lasts forever “, the reference to his deceased friend could not be any clearer and the deep soul pain resonating with the line could not be greater. Such intimate moments are one of the mainstays of the Brighton music.
In the end, it’s just this haunting atmosphere, the “Holy Hell” of many other Metalcore records that lifts the band up to the level of other giant acts. The damned good songwriting is just the tip of the iceberg and, in addition to the sleek but thoughtful production, is one of the many elements that make up the basic construct on which to build these deeper, more emotionally charged elements. For Architects, the album represents an important step in the new line, although “Holy Hell” will not change much for the genre itself. What remains is the realization that good music can sometimes emerge even within relatively narrow borders.
You can buy the album “Holy Hell” here. *
Tickets for the upcoming tour are available here. *
And that sounds like this:
Architects live 2019:
1.10. – Dusseldorf, Mitsubishi Electric Hall
02.02. – Leipzig, Haus Auensee
03.02. – Offenbach, Stadthalle
05.02. – Berlin, Verti Music Hall
06.02. – Munich, Zenith
08.02. – Hamburg, Sporthalle
The rights for the album cover are owned by Epitaph Records.
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