Album reviewLet the longtime fans keep waiting (in vain) for Architects’ return to their sonic territory of origin. It’s been such a long time since the British band chose to make their music more accessible, and lean into melodic, catchy choruses to counterpoint the pummeling riffs and skillfully controlled screams that often make up their verses… or so we thought. While The Sky, The Earth & All Between makes some use of the old familiar recipe, it also dares to refocus on more essential elements, more clearly defining the character and atmosphere of some songs, which are ultimately less scattered than before. And if you're going to go big, you might as well go really big—just listen to "Blackhole," whose chorus, though melodic, remains solid without dulling the incredible violence unleashed throughout the rest of the track (it's been a while since the band hit this hard).
On the flip side, "Everything Ends" fully embraces pop with synths and melodies built to easily slot into the airwaves between Imagine Dragons and OneRepublic (save for a concluding scream to sign off properly). The band owns up to the choice, having stated their intention to push each idea to its limit on this record. "Brain Dead’s" punk edge injects some dynamism into an album that, overall, isn’t afraid to explore more mainstream directions than ever before, without giving up its metalcore backbone. Brutal riffs are unleashed on "Curse" while the band channel the Linkin Park vibe of their 2021 album For Those That Wish to Exist on tracks like "Seeing Red."
Heavier in places than their recent albums and, paradoxically, even cheesier when courting a broader audience, The Sky, The Earth & All Between is an album full of contrasts—but not necessarily contradictions. It’s an evolution, not a revolution, aimed at staying in step with a fanbase that remains grateful, no matter what.
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Guillaume Ley/Qobuz 
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