Despite being a rather marmite-like record for some fans, the way in which it ferociously asserted itself into the mainstream, it truly changed the scene. Hoping to continue with this momentum, the Brighton collective are now releasing the recording of their livestream performance of the album in full which took place at Abbey Road Studios in December 2021, featuring the Parallax Orchestra. Lead by BASCA-winning composer, conductor and arranger Simon Dobson, he created this score to highlight the moments where Architects had turned to production, and instead enhanced it on a brand-new level while proving that there’s no route the band are unwilling to explore. For Those That Wish To Exist At Abbey Road certainly has the potential to win over those who weren’t convinced beforehand, even if it’s just by mentioning that this is also the same orchestra who performed with Bring Me The Horizon at the Royal Albert Hall six years ago…
Throughout the original album, Architects relied on production to mirror string-like sounds, so this addition seems very natural on the surface, and prior to listening one wouldn’t be blamed for assuming there would be no real difference. However, the full impact of the orchestra also features brass and percussion to invigorate the overall sound, as well as many sections having been rewritten to be completely original. The most obvious track to reference here is the opener ‘Do You Dream of Armageddon?’, whereby this version is purely instrumental. Beginning with gentle piano then a range of violins and cellos, it’s a magical introduction to the performance. The booming hum of the timpani and lower brass instruments give Architects the extra vigour we never knew they needed before. Collectively, it takes one’s mind to the most emotive and powerful film scene they can imagine; the death of a main character in battle, a widow avenging their lover, a mother sacrificing herself to save her child… This short track alone is a prime example of how impactful instrumentation can be without lyrics, and will leave you holding your breath in anticipation for the next powerful piece.
The 14 tracks that follow seldom meet this high standard though, except potentially the introduction and chorus of ‘Meteor’. These sections have the same cinematic feel as ‘Do You Dream of Armageddon?’ as visions of characters preparing to face their fears in a grand montage spring to mind, although this soundtrack flair isn’t found elsewhere. The slow and moving ‘Flight Without Feathers’ (the original version of which took quite a lo-fi approach) could have greatly benefitted from this level of fortitude, yet it still holds its own. Lead by strings but featuring a glockenspiel or vibraphone for twinkling rhythms flashing throughout, this song is layered and composed brilliantly to showcase the orchestra’s range next to a sound as huge as Architects’.
‘An Ordinary Extinction’ does stand out as one of the highlights of …At Abbey Road. The original relies on production throughout, making this a particularly interesting one to compare. Off the bat, one very effective point is being able to hear Sam Carter’s vocals at full force rather than shrouded in production like the original. It’s far more dark and brooding than expected due to the cello’s strong timbre being paired with lower brass and timps/drum kit. At contrasting moments, the guitar riffs are isolated to allow the initial rhythms the strings mimic to have their full impact too. In this track, every instrument whirls around one another without overpowering or becoming overwhelming, which is a brilliant move on Dobson’s part.
Together with Dobson and the Parallax Orchestra, Architects have continued to elevate their sound 18 years into their career. While the production and genre choices in For Those That Wish To Exist may not have been to everyone’s taste, there is no challenging the ones made in …At Abbey Road. In fact, some may feel inclined to listen to some from this version over the original in a few cases – particularly ‘An Ordinary Extinction’ and ‘Do You Dream of Armageddon?’. While there are filler tracks that obviously couldn’t be saved by genuine strings and brass (e.g. ‘Little Wonder’), this record is wonderful to experience from start to end. Still maintaining moments of a live concert, such as the long pauses between songs, it’s the soundtrack to Architect’s continual growth.