With The Sky, The Earth, and All Between, Architects continue to push the boundaries of their sound, merging their signature melodic metalcore style with heavier influences from death metal, industrial textures, and atmospheric rock. This album marks a bold evolution for the band, showcasing their ability to balance beauty and brutality while staying true to their roots.

What’s immediately striking about The Sky, The Earth, and All Between is how uncompromisingly heavy it gets. Architects have long been known for their blend of melodic hooks and crushing breakdowns, but here, they dive deeper into extreme territory. Tracks like “Elegy” and “Blackhole” plunge into death metal’s darkest corners, with relentless drumming, dense, palm-muted riffs, and guttural vocals that are a far cry from their more accessible material. The heaviness here is relentless, feeling almost suffocating at times, but it works in their favor, establishing an aggressive new dimension to their sound.

The breakdowns on this record are brutal, and on tracks like “Whiplash” and “Judgement Day,” they’re taken to an entirely new level. Industrial influences permeate these sections, with eerie synths and mechanical textures adding extra bite. These moments are aggressive yet methodical, taking the listener on a sonic journey from pure chaos to unsettling calm and back again. The balance between these styles is a testament to the band’s evolving songwriting prowess.

Sam Carter’s vocals are as dynamic as ever, standing as one of the standout elements of the album. His well-established clean melodies are complemented by some of his most vicious growls to date, making the heavier tracks hit even harder. On “Broken Mirror,” Carter channels an unexpected vocal tone that recalls the raspy, emotional style of Oli Sykes from Bring Me the Horizon, providing a new layer to his already versatile vocal approach. This track, in particular, highlights his ability to shift between aggression and melody with fluidity and ease.

Meanwhile, “Evil Eyes” offers one of the album’s most emotionally charged moments. Here, Carter’s softer, more textured singing floats effortlessly over the track’s mesmerizing guitar work and atmospheric synths. The blend of delicate vocals and eerie melodies creates a haunting atmosphere that lingers long after the song ends. It’s a moment of calm before the storm, showcasing the band’s ability to temper their intensity with moments of subtle beauty.

The instrumentation on this album is both diverse and cohesive. Architects seamlessly blend djent-style grooves, industrial riffing, and traditional metalcore leads, giving each track its own distinct identity. “Brain Dead” takes a punk-driven approach, its fast-paced drumming and raw aggression a departure from the more atmospheric tracks on the album. On the other hand, “Landmines” merges grimy bass lines and crushing guitars with angelic synths, creating a unique push-and-pull between raw, earthy sound and ethereal atmosphere. The juxtaposition of these elements keeps the album dynamic, allowing the band to explore different sonic landscapes without losing their sense of cohesion.

Guest features also add layers of complexity and variety to the album. Amira Elfeky’s ethereal vocals on “Judgement Day” provide a haunting contrast to the band’s dense instrumentals, weaving a sense of depth and texture into the track’s already multifaceted sound. It’s a moment that feels almost otherworldly, adding a haunting touch to an already punishing song.

Despite the heavier direction, The Sky, The Earth, and All Between avoids falling into the trap of over-polishing or overproduction. Even the more accessible tracks, like “Everything Ends,” retain a raw, gritty quality that keeps the emotional weight intact. The band doesn’t dilute their sound to make radio-friendly hits; instead, they find a balance between catchy, melodic moments and their more aggressive, extreme tendencies. This approach prevents the album from feeling formulaic or overly commercial, even as it showcases the band’s more refined songwriting.

The closing track, “Chandelier,” is a fitting conclusion to the album’s journey, bringing things to a soaring emotional high. The distorted clean vocals, haunting riffs, and powerful finale create a cathartic ending that leaves an impression. However, the final scream does feel slightly out of place, throwing off the otherwise seamless pacing of the track. It’s a minor critique, but one worth mentioning given the album’s otherwise carefully crafted atmosphere.

The production on The Sky, The Earth, and All Between is impeccable, as expected from Architects. The mix is spacious, allowing each element to breathe—whether it’s the smallest synth line or the most crushing breakdown. The drums, in particular, hit with real weight, and certain percussive elements, such as metallic industrial hits, give the heavier sections an even more punishing quality. The production enhances the album’s aggressive edge, making every track feel impactful.

One minor critique is that some transitions between softer and heavier sections feel a bit abrupt. In “Seeing Red,” for instance, Sam Carter delivers his long-awaited “blegh,” but his clean vocals afterward feel slightly strained in comparison to earlier, more fluid moments on the album. These instances don’t detract from the album’s overall impact, but they highlight the risks that come with pushing boundaries.

Ultimately, The Sky, The Earth, and All Between is a bold and dynamic entry in Architects’ discography. It successfully blends past and present influences, while introducing new elements that elevate their sound to even greater heights. For longtime fans, the album offers some of the band’s most intense and memorable moments, while for newcomers, it provides a thrilling introduction to a band that refuses to be confined by genre boundaries. This album proves that Architects are still evolving, pushing themselves to new extremes while staying true to the core sound that has defined them.