乔什·米德尔顿（Josh Middleton）以前知道这些事情已经扭曲了，所以当他谈论吉他在布莱顿乐队最新的角色时，他很小心。他说：“您不想说吉他已经倒退了，因为那时人们开始像‘哦，不！’，但重点是歌曲并在唱片上创造了有趣的，独特的声音。”“这并不总是意味着吉他。”
The record in question isFor Those That Wish To Exist，这是一段雄心勃勃的，令人痛苦的旅程，进入了金属核巨人的气候危机深处。米德尔顿（Middleton）试图远离那些困扰着沉重乐队数十年的头条新闻，这使人们对变革感到恐惧。但是，确实没有逃脱我们不在堪萨斯州的事实。
单打 -动物and黑肺– set their stall out early. Both are heavy, chug-driven metal songs primed for delivery in the arenas that建筑师now call home. But both also wear vocalist Sam Carter’s pristine hooks and their synthetic elements proudly, revealing the textural approach that drives the album as a whole. “We’re using guitars as a colour,” Adam Christianson says.
“There’s a lot more melody, so you have to leave some space for that,” the guitarist adds. “You can’t have huge, busy riffs all the time. Also, when there’s more electronics, more instruments and sounds going on compared to a few albums ago, you don’t require as much from the guitar.”
中心For Those That Wish To Exist是对工业音乐越来越突出的迷恋。建筑师在焊接机械化的时期将其焊接到即兴演奏的同时，呼唤着这种类型的污秽和腐烂，并呼唤与加里·努曼（Gary Numan九寸钉30 odd years ago.
“随着即兴演奏动物我们真的在努力寻求这种可怕的工业声音，”米德尔顿说。“正常跟踪吉他，然后再次进行双重跟踪。因此，有六首曲目，其中两条有两条Kemperturned off. It just sounds like an amp direct into a desk, which is disgusting. But it gives the riff that abrasive sound. It’s not about anything being too perfect. We were viewing the guitars as if they were synths, making sounds that don’t sound like guitars.”
Into the breach
Middleton – who played his custom shop EverTune-loaded LTD model throughout – is on his second record with Architects, having stepped into the fray following the tragic death of founding guitarist and creative lynchpin Tom Searle from cancer in 2016. Alongside the band’s drummer, and Tom’s twin brother, Dan, he co-produced 2018’s我的天啊，二人重复实验For Those That Wish To Exist。
“All of us have done enough records by this point to know what works for us and what doesn’t, and what we need help with and what we don’t,” he says. “I think we all work better when we can get our heads down and do it in our own spaces and not rely on anyone else.”
克里斯蒂安森（Christianson）与LSL及其标志性的“ Bari Bone”男中音有着长期的联系 - 从艺术和实用的角度来看，这也是如此。但是硬币的另一侧是这里没有安全网。For Those That Wish To Existis going to be a divisive record, and there’s no-one else to point the finger at. “It depends on your experience level and your vision, right? Some bands, going into a record, may not be 100 per cent sure on what it’s supposed to be,” he observes.
正如他们所描述的那样，建筑师的变化优先级是他们当前协作机制的自然分支，而克里斯蒂安森的肯定基础也许是由于这只是一段时间的工作方式的结果。灼热话语死了可以追溯到我的天啊，但它有每个成分元素定义For Those That Wish To Existalready in situ. It’s as though they are pulling at different threads in their makeup, their interest piqued by facets of previous work that perhaps stand at odds with their fans’ expectations.
“丹现在写得更多，”米德尔顿说。“他可以弹一些吉他，但在大多数情况下，它是编程内容和编写合成器部分。他的写作意味着更多的事情。随着过程的进行，我们对专辑的变化有了更好的了解。一定有20首歌曲可供选择，最后退后一步是“我们走到哪里了？”和“我们需要什么？”
With the COVID-19 pandemic coming into focus as they wrapped up writing, recording was necessarily dislocated. After playing their final show in support of我的天啊in Australia early last year, Middleton flew home to his family as his bandmates sought somewhere quiet to get some ideas down.
克里斯蒂安森说：“我们打算在澳大利亚呆一些演示，然后森林大火变得更加严重。”“我们有点担心在那里闲逛太久，所以我们去了巴厘岛。我们在那里工作了几个星期，那是大流行的媒体冒泡的时候。”米德尔顿（Middleton）回想起时间范围：“大约九个月我没看到丹。我们在那个时候写了，录制和混合了记录。”
他说：“丹在托特尼斯的中间农场做了鼓。”“山姆在布莱顿录制了人声。Zakk Cervini在洛杉矶进行了混合。整个过程被分散了。但是，如果我说实话，我认为如果没有大流行，那不会有什么不同。我认为我们已经意识到，当我们在工作室一个月的工作室时，我们的表现不佳。只是不利于良好，健康的精神状态。彼此之间无关，我们花了很多时间在巡回演出上，这很好，这只是土拨鼠的日子。我们做到了我的天啊在中间农场，这是一个可爱的工作室，但是过了一会儿，我们真的被烧毁了。”
Moving on up
将情绪放在一边，放大建筑师的整个职业 - 14年来的九张专辑，每张专辑都代表了一个部门或另一个部门的改进 - 很难看不到For Those That Wish To Existas an evolutionary step that makes sense. Perhaps the key difference between this record and我的天啊is that it isn’t anchored to the blistering heaviness that has always been there to ride roughshod over any ideas that the band’s face-melting days were behind them.
在这里，挽歌合成的流行Flight Without Featherspointedly exists next toLittle Wonder，与皇室血统迈克·克尔（Mike Kerr）对它有足够的流行声音，以使测序大胆。建筑师拥有它。该方程的一部分可以追溯到他们近年来毕业的怪物大厅。
游览我的天啊began in earnest at Alexandra Palace in London and took them to Wembley Arena. Shows of that size change musicians, from musical priorities through to practicalities. “You can’t have super technical stuff in a cavernous space,” Christianson says. “It’ll just sound like mush. You could say you’ve simplified it, but you’ve also tuned the music to a place you’re going to be performing. Whether it’s conscious or not, there was probably an element of that.”
米德尔顿同意。他承认：“从音乐上讲，这可能是一切都会消失的地方。”“当时我们已经在玩竞技场，就像，‘好吧，如果这是乐队所在的地方，那么音乐需要适合这些场所。’您必须弄清楚什么是翻译成更多的生活。当我们谈论现场演奏时，它真正出现的唯一时代之一就是这首歌死蝴蝶，丹带进来。中间有一个即兴演奏，我认为它归结为低f♯。
“There are a few tunings that the band uses and that’s the lowest one, it’s almost an eight string tuning. I remember saying to him, ‘As much as I love it, and it’s a huge part of the band’s sound, there’s barely a note there on the bass, you can barely feel it.’ With that song I was just like, ‘Let’s just do it in drop B and change the riff.’ There are a lot more higher tunings but to me between C♯ and B you get that chestier punch from the low end, which is heavy in a different way. You feel it more.”
For Those That Wish To Existis Architects moving on in real time. It’s big, bold, and sure to be a lightning rod. It’s honest, and that’s a dangerous game to play these days. “We’re thinking of ways to be really heavy, and have stuff sound big and powerful, but not in the most obvious metal way,” Middleton says.
建筑师的For Those That Wish To Exist2月26日至2月26日墓志铭。