There must have been 20 songs to pick from, and taking a step back at the end it was ‘where have we gone too far?’ and ‘what do we need more of?’” As the process went further and further we got a better idea of what the album was turning into. His writing meant there was a lot more of that coming through. “He can play a bit of guitar but for the most part it’s programming stuff and writing synth parts. “Dan writes a lot more now,” Middleton says. 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. The searing Discourse Is Dead dates back to Holy Hell, but it’s got each constituent element that defines For Those That Wish To Exist already in situ. Image: Frank Hoensch / RedfernsĪs they describe it, Architects’ shifting priorities are very much a natural offshoot of their current collaborative mechanisms, and Christianson’s sure footing is perhaps a result of the fact that this is just how things have worked for a little while. “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. For Those That Wish To Exist is going to be a divisive record, and there’s no-one else to point the finger at. But the other side of the coin is that there’s no safety net here. “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.”Ĭhristianson – who has a long association with LSL and his signature ‘Bari Bone’ baritone –sees it the same way from an artistic and practical standpoint. “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. Alongside the band’s drummer, and Tom’s twin brother, Dan, he co-produced 2018’s Holy Hell, with the duo repeating the experiment on For Those That Wish To Exist. 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. We were viewing the guitars as if they were synths, making sounds that don’t sound like guitars.” It’s not about anything being too perfect. But it gives the riff that abrasive sound. It just sounds like an amp direct into a desk, which is disgusting. So there’s six tracks and two of them have got the cabinet section of the Kemper turned off. “The guitars are tracked normally, and then double tracked again. “With the riff on Animals we were really trying to go for this horrible industrial sound,” Middleton says. READ MORE: The Pineapple Thief on how Cubase and Kemper influenced their entire record.Architects flirt with the genre’s forays into outright filth and decay while welding mechanised heft to their riffs and calling up synth swatches that are passingly similar to the ones Gary Numan passed along to Nine Inch Nails 30 odd years ago. 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.”Ĭentral to For Those That Wish To Exist is an increasingly prominent fascination with industrial music. “You can’t have huge, busy riffs all the time. “There’s a lot more melody, so you have to leave some space for that,” the guitarist adds.
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