Architects – ‘All Our Gods Have Abandoned Us’ Review
Posted: by Steven Lalonde
Beginning in 2004, Architects had gone through perhaps the most tumultuous 10 years any metalcore band — or whichever genre you brand them as — could possibly imagine going through. While many believe, and still believe, that Architects attained their peak in 2009 with the release of Hollow Crown, most (myself included) defend their earth-shattering release in 2014 Lost Forever // Lost Together as being their true masterpiece. So what could possibly be better than a masterpiece? How about a more polished masterpiece, or as they title it, All Our Gods Have Abandoned Us.
Before the needle barely has a chance to drop on the album, lead vocalist Sam Carter ferociously has listeners by the throat with his distinct and tortured voice in the opening track, “Nihilist.” The opening track serves as an ingenious introduction that sets the tone for the entire album. Nihilism is defined as the belief in nothing, no loyalties to anything and no purpose other than to simply destroy; a prelude that perfectly exemplifies the remainder of the album. Architects have been known to address the issues surrounding God and/or other Divinities, forming a cloud of hostility towards their existence. Evidently, within the first 15 seconds, as Carter roars “…but all our gods have abandoned us,” listeners are undoubtedly in for a monumental ride.
When first listening through the album it’s clear that Architects knew what direction they wanted to head with the album. With each passing track, confidence oozes as the band confronts universal issues such as struggling with religious beliefs, political corruption and environmental controversies. The first single the band released, “A Match Made In Heaven” – though not the best on the album – could arguably be the band making a point on how the Western intervention in the Middle East has been disguised as altruism. Carter elucidates the theme, pleading “you knew all along that the cancer would spread, so don’t be surprised to find a price on your head,” perhaps referring to the spreading of terrorist organizations, hereby demonstrating that Architects want the world to take notice. And trust me, you will.
In another context, “Gone With The Wind” could be interpreted as Carter’s struggles with his faith in God and the afterlife. “Do you remember when you said to me “My friend, hope is a prison,” truly encapsulates the feelings which are relatable for many adults in today’s age, including my own. Lyrically, Carter and Tom Searle (lead guitar) hit the nail on the head with lyrics portraying not only “bigger picture” themes, but themes in which are more relatable to every day life and struggles. In many instances, the duo manage to leave listeners in a trance, hanging on to every word being belted out.
If there is something negative to be said about the record is that much of the orchestration and production is fairly similar to that in Lost Forever//Lost Together. Not to say that production is poor because in fact, as mentioned before, it has been polished. Yet at times said production makes the songs run together and lack stylistic creativity. With that being said, the record is still filled with incredibly cumbersome guitar riffs and demolishing drums. The fact that they ditched the heavily ambient/electronic interludes is a step up, yet, this is counter-balanced by the seemingly underwhelming breakdowns. All in all, the pulse-pounding sound combines masterfully with Carter’s aggressive yet purposeful vocals, which separates Architects massively from the remainder of the metalcore scene.