But that's also funny, as that's what sums up ' Holy Hell' completely: just expect the expected. (Namely with Alex Dean's bass tone being wickedly sharp, cutting harder than ever before and I'm so grateful for that he's an often over-looked musical contribution). As this album’s production - self-produced by Josh and the band - is as clean and as smooth as you'd expect from the English band. And it's clear that the band have also learnt so much from not just the songwriting Tom utilised, but from engineers Henrik Udd and Fredrik Nordström as well. He was one of the best songwriters modern heavy music had. No one would've blamed the band for ending or going on hiatus back in 2016, but they persisted, and that determination cannot be understated. Architects are undoubtedly protecting, honouring and continuing the sound that Tom helped to cultivate the legacy that he’s left behind as not just a guitarist and songwriter, but as an artist and as a man too. Which all brings me to another point about ' Holy Hell'. From grieving and bargaining (‘ Royal Beggars’, ' Hereafter'), to accepting death and that there is no infinity as all things must end (' Holy Hell', ' Mortal After All'), to one's depression and hopelessness (' Modern Misery', ‘ A Wasted Hymn’), and growing stronger from pain to hopefully create diamonds and learn more about ourselves (the faith-based sentiments and suicide ideations of ‘ Dying To Heal’). What with the album grappling with multiple stages of grief purging all they've been through over the last two years. As you can safely assume, oceans of grief, depression, and even glimmering rays of hope have been poured into the creation of this new LP. metalcore quintet to move past following the darkest, most painful point of their band's history: the passing of guitarist and primary songwriter Tom Searle in 2016 after he sadly lost his battle with cancer. Allowing a light at the end of the tunnel for the famed U.K. This new LP is just trying to exist, just trying to simply be. And you know what? ‘ Holy Hell’ wasn’t trying to be perfect or trying to one-up its predecessor.
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