ALBUM REVIEW: The Sky, The Earth & All Between – Architects

March 2, 2025 Ed Walton

Over the last decade, Brighton metalcore outfit ARCHITECTS have steadily become one of the biggest bands in the British scene. They’re now back with their brand new album The Sky, The Earth & All Between and it is one hell of a return to form for the band. Whilst other efforts from the band such as For Those That Wish To Exist and the classic symptoms of a broken spirit were good, they lacked a certain bite and had the almost impossible tasks of following on from the phenomenal Holy Hell. This time round, they have sought the help of former BRING ME THE HORIZON member and producer extraordinaire Jordan Fish whose influence oozes throughout the record, turning it into an absolute powerhouse of an album. It gives ARCHITECTS that much needed bite they’ve lacked on their last couple of releases.

Opening the album is Elegy, a track that truly sets the tone for the entire album. From a tinkering electronic/synth sound, the song slowly builds up before launching the album into an unstoppable and relentless nature. Frontman Sam Carter is in terrific form as he moves between clean and harsh vocals expertly giving The Sky, The Earth & All Between an enormous feel backed up by the unmistakable tones of Jordan Fish. Launching into the album proper is the one-two punch of Whiplash and Blackhole, two of the album’s singles. Both play at breakneck speed, showing that they’re ready made ARCHITECTS classics. Whiplash leaves no prisoners with its uncompromising riffs and punishing blast beats that leaves no prisoners. There are guttural growls aplenty and a breakdown that will truly bring the stank face out. Blackhole keeps up the intensity and sees Carter produce some of the finest vocals he’s ever displayed on an ARCHITECTS record that compliments the music perfectly as drummer Dan Searle also puts in one hell of a performance too. Both of them are going to be phenomenal in a live setting.

Shaking everything up a tad is Everything Ends. It’s the only poppier song on the album but that doesn’t detract from its quality in the slightest. The huge guitars are still there that give this song an anthemic feel but the synths give this song a darker tone to it that makes you feel a little uneasy. It’s a good little bit of variety to keep you on your toes whilst listening. Brain Dead ramps proceedings back up to 100mph and is modern metalcore through and through. A whirlwind guitar riff powers this song through will have circle pits forming in seconds live as HOUSE OF PROTECTION lend their vocals which feeds the ferocity of the song leaving you feel like you’ve gone ten rounds in a boxing ring. After navigating the bombardment of singles that open the album, it is then time to explore uncharted waters with a handful of songs that we haven’t yet heard. Evil Eyes arrives at the halfway point of the record, and is once again a tour de force. The verses are an all-out assault on the senses whilst the chorus has a softer sound that lulls you into a false sense of protection before throwing you back into the fray as it barrels toward the end.

Landmines continues the sonic bombardement with a bed of synths that bounces off the drumming perfectly. It builds and builds until the enormous chorus takes hold as Jordan Fish’s producing style shines through. It’s a style that doesn’t feel overused one bit and only ever subtly shines through with distorted lyrics and the odd backing vocal. Judgement Day sees the second guest appearance on the album in the guise of AMIRA ELFEKY which opts for a more electronic, industrial sound. It sees Elfeky bring a more nuanced style of singing to the record, taking lead on the song as Carter joins in on the choruses as both vocal styles work off each other perfectly. It’s one of the more broodier tracks which has a great bounce with it to boot. Broken Mirror continues the subdued and broody chapter of the record. It gives Carter a chance to flex his singing muscles and it is genuinely impressive, his style of singing really suits this track as he shows a softer and more vulnerable side to himself before reverting back to his more screamier side of performing. If this one is performed live it should prove to be quite a powerful and poignant moment, make sure you’ve got your lighters ready.

On the final run toward the end of the album, we meet tracks Curse and Seeing Red. It feels like an absolute lifetime ago that these songs came out, both of them coming out in 2024 and 2023 respectively. Both of them pack a punch and don’t feel out of place. However, it is Seeing Red, the song that signalled a whole new era of ARCHITECTS that sees them ready to take that step up they’ve threatened to do over the last few years. It still has that rawness and bite to it that we first heard two years ago and keeps this album going right until the very end. Seeing out the album is Chandelier which brings the whirlwind and chaotic nature of The Sky, The Earth & All Between to its end. It’s soft and calming but ends the record on a victorious note that makes you feel like you’re almost soaring along with the musical arrangement, there’s still room for a few screams and huge guitars, but by the time you reach the end, you’re ready to go from the very beginning again.

The Sky, The Earth & All Between feels like a natural successor to Holy Hell. It may have taken a while to get there but the end result is one that can go shoulder to shoulder with it. Whilst the iconic style of ARCHITECTS is prevalent throughout, this album feels incredibly fresh which has breathed new life into the band. For most bands, an eleventh album is a point where they’ve been phoning it in for years, trying to get a grasp of the glory days. For ARCHITECTS it’s a completely different story, under the guidance of Jordan Fish, they can go onto bigger and better achievements. It wouldn’t be surprising if a headline slot for Download Festival came off the back of this album; they proved themselves as headliners at Bloodstock, so it’s not a matter of if, but more a matter of when. Play this loud and feel it move throughout your body.

Rating: 8/10