Architects‘ latest album All Our Gods Have Abandoned Us has been highly heralded in recent months, with many feeling that the future of the band might revolve around this album. The opening seconds of the album are enough to dispel any doubt what Architects are gunning for: brutal, world domination.
Nihilist opens with a blistering barrage of sound, a mission statement for the band and the album. The raw scream of “All our gods have abandoned us!” is inspiringly powerful. This album is as heavy musically as it is thoughtfully. Deathwish calls out some of the worst attitudes in human society, pointing the finger at those who would watch the world burn, and questioning whether we can change things now.
All Our Gods Have Abandoned Us takes the winning formula that Architects finally struck gold with in Lost Forever / Lost Together and condenses it into a more focused, angrier beast ready to rip apart corruption. Some screams throughout the album such as those in Phantom Fear hold a haunting quality that lends a layer of atmosphere over the top of the music.
This album doesn’t throw all its cards into being the fastest and the heaviest out there, though. Some tracks, like Downfall and Gone With The Wind present some beautiful melodic sections. The latter brings some of Sam Carter’s best clean vocals too. Aside from a few of these sections, it’s the same mid-screams we know and (hopefully) love.
Sonically, the record is close kin to Lost Forever / Lost Together, but the devil is in the detail, here. This album is tighter all round, from the double kick rhythms to the intricate riffs.
A Match Made In Heaven is one of the best songs on the album, and the riff introducing the song is unmistakeable. If fits into the album just as well as it works as a single, which is something that goes for each of the previously released songs. Some of the singles that may have seemed lacklustre alone come into their own amidst the album. This is a piece that works best as a whole.
Following A Match Made In Heaven are four of the least memorable songs of the album. Aurally, these songs fit well within the album, with All Love Is Lost offering one of the slowest tracks on All Our Gods Have Abandoned Us, but it feels like a preparation for something that never really drops. Whilst Memento Mori might not be the blistering closure that many felt was coming, it’s an impressive show-piece that represents Architects‘ dynamic nature. Cleverly crafted with heavy sections and rebait, it’s like the most truthfully brutal ballad ever produced. A treat for those that will sit and pay full attention to the close of this essential album.
Architects have cooked up something truly special for their seventh outing. All Our Gods Have Abandoned Us has no particular missteps, though the formula does threaten to get old. The most memorable moment of the album remains as the boiling rage spat out at the beginning of Nihilist. From there unfolds the most polished Architects album yet, and it’s one that will keep you talking – and thinking – about it for a while.