Architects - For Those That Wish to Exist (2021)^{Release ID: 26203}

I have never paid very much attention to bands like Architects, even if the majority of people that I know in metalcore spaces absolutely adore this band. I cannot truthfully say that anything I have heard from Architects to be abhorrent, but most of it just never stuck with me by comparison. That said, when I listened to their 2018 album Holy Hell, I was struck by how much passion was put into the music after the death of one of their integral songwriters. It really felt like this group could have written that album as a swansong and I’m not sure many of my friends would have complained.

That being said, when I heard the backlash from those same people surrounding their newest album, For Those That Wish To Exist, I was surprised to say the least. So I gave it a listen and… I don’t get it.

Oh I get where the anger comes from. For a band that has developed such a devoted fanbase, for them to go full on Bring Me The Horizon with their alternative, electronic leaning timbre that is not entirely devoid, but certainly limited metalcore roots, it would be a slap in the face to some. But as someone who was never a big fan of Architects in the first place, this is an entirely serviceable alternative metal pivot for the band, with many of the issues that similar bands have faced for decades.

Production wise, while the kick is far less prominent in the songwriting, the mixing has been blown up almost as compensation for slower moving parts. Many of the choruses on this album feel like they are about to fade out, but are followed by a typical melo-core breakdown. I wasn’t quite sure what to make of it at first, but after the third time hearing it, it must have been added on purpose and it sounds disorienting.

While some of the songs sound decent, most notably “Giving Blood”, “Demi God” and probably “Dead Butterflies”, the lack of a bass independence from the rhythm guitar continues to infuriate me. And Sam Carter’s vocals are far less passionate than the last record as well. I guess I cannot count on the singer to have the same voice they did four/five years ago, but they still feel unpolished. Oli Sykes sounded better on That’s The Spirit and neither of these performances live up to the heights of Chester Bennington on Meteora.

On the surface, Architects are taking the steps to make their sound not only more accessible, but also sustainable. Sam Carter is not going to be able to record “Doomsday” for every song for the rest of their life. And while there may be glimmers of quality here, it is still relaxed enthusiasm from me. This is getting dangerously close to sounding like generic hard rock/heavy metal music, and I hope Architects can get off that path before it’s too late.