Architects interview | Live streaming from Abbey Road Studios


[Photo by Ed Mason]

To post-metal core giants Architects have announced details of a worldwide exclusive live streaming event scheduled to take place next December.

Performing alongside the Parallax Orchestra, the band will present their ninth album topped the UK charts, For those who wish to exist, to life like never before via a full read back and forth. The legendary Abbey Road Studios, made famous around the world thanks to its association with the Beatles, will serve as a backdrop to this most unique live show.

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The event will be previewed via Veep December 11, 2021, at Noon PT / 3 p.m. ET and will be available for 48 hours thereafter. Tickets are on sale now here.

The stream marks the second event in this type of live broadcast from the architects, following the 2020 performance at the world-famous Royal Albert Hall in West London. This recording was then pressed into a limited edition vinyl, which quickly sold out during pre-orders.

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Ahead of Abbey Road Studios premiere of the event on December 11, singer of Architects Sam carter sitting with Alternative press to discuss his personal connection to the place, bringing For those who wish to exist to the unique life and challenges of playing with a full orchestra …

As a music fan foremost, what does Abbey Road mean to you?

It’s such an important part of music not only in UK but all over the world. Some of the greatest and most important records of all time have been recorded there. It’s such a joy to even be allowed to enter the building, let alone check in there. It is a very special place; I still can’t believe we were able to create there.

Where does your personal connection to Abbey Road come from? You are a big Beatles guy, is this where you first discovered the studio and its importance in history?

For sure. I think one of the main things that got me so excited about The Beatles was their recording techniques. There was no editing or cutting or anything – they just went into a room and recorded. They were so amazing. There was some sort of magic in there. Part of what is so special about the place is its magic and ambiance. We’ve been to a lot of different studios around the world, and this is one of the few where you kind of feel the ghosts of the people who were there before you. You stand there, and you think of the music and lyrics that echoed off the walls around you – and they haven’t changed much since the 1960s and 1970s, either.

How was it the first time you went there? What struck you the most? Does that compare to the expectations you had in your head?

In fact, entering the building is crazy because there are still instruments that these massive bands used in the past. The first time we were there there were two pianos that the Beatles used on a bunch of their albums. I was sitting at one having a beer, and I put the bottle on top without thinking, and someone said to me, “You might want to move that – it’s John lennonyou are sitting at the piano! You walk the same hallways as the bigger ones, or you climb to the roof where the Beatles were seated before recording “Lucy In The Sky With Diamonds”.

Where did the idea to record come from? For those who wish to exist with an orchestra first came? Considering the increased prevalence of strings in your music over the past few years, have you ever thought of something as fully realized as this?

We had felt that the livestream we had done from the Royal Albert Hall [in 2020] was a really special event, so we always kept in mind the idea of ​​redoing something that was beyond normal for our fans. Earlier this year, we actually did a Q&A filmed at Abbey Road with Radio 1’s Daniel P. Carter, where we talked about making the album. When we were done I was talking to Dan [Searle, drums], and I said to him, “Imagine if we did the whole album side to side… with an orchestra. “

Dan said he thought it would be a hell of a job but something really fun and special. So we started to explore the idea. We managed to do that in the bigger room, at Studio One, which is a room where I think a lot of movie soundtracks were recorded – the Harry potter movie theater, Pirates of the Caribbean. Before we knew it, we were sitting in the middle surrounded by 30 or 40 musicians, all of whom are so much more talented than us, and we try to impress them!

When it came to composing the arrangements, was it a collaborative process?

Anyway, Parallax Orchestra had done a lot of work on the album, so Dan was able to work closely with them. For songs that didn’t have strings in the first place, that involved figuring out what the arrangements would be together. On others, it involved removing layers of electronics that are on studio recordings and replacing them with strings. For others, it was about inventing and creating entirely new things. It was super easy and a lot of fun.

The amount of strings on the disc was already very helpful as it meant we could add more as a starting point. It all seemed very natural. It was a very complete experience, however. It’s very intense to have so many musicians around you playing at the same time, especially when you then add a split on top of it. [Laughs.] I’ve listened to it a lot since then, and the intensity is there every time.

How difficult was it for you to work with as a singer? It must be very inconvenient for your own performance …

I had the orchestra in my headphone mix, but I lowered the levels a bit. I would have liked to have focused more on the orchestra, but I had to focus on my own performance at the time. I knew I could take advantage of the rest later. It was intimidating too, and it definitely took a few songs to really feel right at home with so many amazing musicians watching you screaming. [Laughs.]

Now that you’ve had the chance to listen to the event again, what are the moments that take your breath away?

I find it all very moving. It is the combination of these two worlds that I love so much. Not all groups have the opportunity to do what we did at Abbey Road – and not all groups have the courage to try to do it. So I’m also very proud of it. “Impermanence” and “Goliath” were really special; “Demi God” was already a really fun song with the strings that are on the record, so being in the room when that happens was also really amazing. It’s hard to hold back just a few moments, because for me every song has its own magical moments.


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