Architects start a headline tour of the UK shortly. Listening to “Hollow Crown”, I suspect that a number of towns and cities will find their venues being re-arranged. From the outset, frenzied fury is the order of the day as this five piece from Brighton proceed angrily to take the place apart.
The first rule of Hardcore, which Architects pass with flying colours, is that it should be relentless. To engage interest, it needs to branch out and it does that too. The opener “Early Grave” has the requisite fury, razor-sharp guitars and total assault from the battery department but it’s not unmelodic either. In fact there’s more than a flourish, as the assault develops into a twirling and then hypnotic riff. Violence recommences on “Dethroned”, but in amongst the angry fists and headbanging, there’s room for pathos in the form of a Hardcore clean-vocal section, which unlike many bands of this ilk rivals Killswitch Engage in its quality and impact. Architects are not frightened to slow it down and do so impressively on “Numbers Count for Nothing” while retaining the statutory level of anger and gang warfare. Intensity, despair and a sense of struggle are the predominant forces here and feature throughout. What I particularly liked was the way the band pulls together complex song structures and develop the shape of each track without the losing overall purpose. On “In Elegance” the pace slows down to increase the breadth and magnitude and change the tone to one of reflective despair without losing power. Then it’s back to chaotic urgency on “We’re All Alone”, another maelstrom of a track which transforms into a twirling rhythm and still greater anger.
One thing I did find slightly frustrating about “Hollow Crown” is that it is so laden with ideas that there’s an incompleteness about it. There are two excellent sections on “Borrowed Time” which if developed in their own right could be really climactic and indeed epic. The emphasis however is placed on twists and turns and “getting on with it” rather than drawing on our emotions through familiarity. There’s no time to think about any of that though as we’re straight onto another round of throat-slashing violence on “One of These Days” – nothing subtle about this one at all. “Dead March” by contrast almost has a melodic touch. Sirening guitars are the perfect accompaniment to the screams, which in the typical style of this album, transform into softer moments. The level of drama is good. It’s clear that everything is not right in the singer’s world. In the spirit of this ever-changing album, “Left with a Minute” reverts to urgency and violence, but no less drama. This sets us up for a quiet beginning to the last track “Hollow Crown”, which starts in the vein of classic metal. The drum taps delicately for once. There’s no eruption on this occasion, but it does crank up to deliver an epic ending, reflecting the sense of despair and the wide-ranging qualities of the musicianship.
“Hollow Crown” kept me engaged throughout. It’s fresh, energetic, ideal for blowing away cobwebs and releasing anger. It’s technically complex and structurally fluid. Unless you’re a fan of Burt Bacharach, and I don’t suppose there are too many of those reading this, it’s a great listen. Highly recommended.
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