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'''''Daybreaker''''' is the fifth [[studio album]] by British [[metalcore]] band [[Architects (British band)|Architects]], released on 28 May 2012 in the [[United Kingdom]] and in the majority of [[Europe]], and 5 June 2012 in the [[United States]]. This is the last album to feature guitarist Tim Hillier-Brook, who left the band on 16 April 2012 to pursue other interests. ''Daybreaker'' was co-produced by both the band and Ben Humphreys at the Outhouse Studios in Reading, Berkshire, the same team and studio as for ''[[Hollow Crown]]''. Noted by music writers for its varied elements, ''Daybreaker'' marks a musical shift back towards the technical sound of their earlier albums; particularly ''Hollow Crown'', whilst incorporating a lot of the melodic elements of their previous album ''[[The Here and Now]]''.
'''''Daybreaker''''' is the fifth [[studio album]] by British [[metalcore]] band [[Architects (British band)|Architects]], released on 28 May 2012 in the [[United Kingdom]] and in the majority of [[Europe]], and 5 June 2012 in the [[United States]]. This is the last album to feature guitarist Tim Hillier-Brook, who left the band on 16 April 2012 to pursue other interests. ''Daybreaker'' was co-produced by both the band and Ben Humphreys at [[Outhouse Studios]] in [[Reading, Berkshire]], and used the same team and studio as for ''[[Hollow Crown]]''. Noted by music writers for its varied elements, ''Daybreaker'' marks a musical shift back towards the technical sound of their earlier albums; particularly ''Hollow Crown'', whilst incorporating a lot of the melodic elements of their previous album ''[[The Here and Now]]''.


The album debuted on five different countries' charts, however performing poorly and failing to break any mainstream top 40. For the promotion of ''Daybreaker'', Architects released five music videos, toured five continents (2012's ''Almost World Tour'' was detailed in the [[One Hundred Days: The Story of Architects Almost World Tour|One Hundred Days]] documentary) and released one re-release of the album, to commemorate their departure from [[Century Media Records]]. The record received a mixed to positive response from critics, while some praised its use of atmospheric elements and returning to a heavier style, while others criticised its style as being uninspired.
The album debuted on five different countries' charts, however performing poorly and failing to break any mainstream top 40. For the promotion of ''Daybreaker'', Architects released five music videos, toured five continents (2012's ''Almost World Tour'' was detailed in the [[One Hundred Days: The Story of Architects Almost World Tour|One Hundred Days]] documentary) and released one re-release of the album, to commemorate their departure from [[Century Media Records]]. The record received a mixed to positive response from critics, while some praised its use of atmospheric elements and returning to a heavier style, while others criticised its style as being uninspired.


==Background and recording==
==Background and recording==
In 2011 Architects released their fourth studio album [[The Here and Now]] described by many as melodic and ambitious "clean-cut post-hardcore".<ref name="exclaim.ca-2-Harms"/>{{sfn|Kelham|2012|p=69}} After completing one phone interview about the record once it was recorded, guitarist Tom Searle asked his manager for him to not be included in any more of the press for the rest of album's promotion as he felt he had "nothing good to say about it".{{sfn|Kelham|2012|p=69}} For the record the band set to fuse their typical sounds with the music they were listening too at the time. The response was polarised, with critics giving acclaim to their style while much of their fanbase panned the album and led to the band being accused of selling out.{{sfn|Kelham|2012|p=69}}<ref name="exclaim.ca-1-Zorgdrager"/> During the press for ''The Here and Now'' the band praised the record and saw it as a progression for them, as they believed they didn't want to reject an album they had just released.{{sfn|Kelham|2012|p=69}} Their lack of belief in the record and their growing concern that they were irrelevant started to severely affect the band's confidence in themselves and their style.<ref name="Rock Sound- WTMW">{{cite journal |last= Sayce |first= Rob |date= July 2013 |title= Welcome To My World: Sam Carter |journal= [[Rock Sound]] |issue= 175 |page = 40 |publisher= Freeway Press |editor= Ben Patashnik| location= London, United Kingdom |issn=1465-0185}}</ref>
In 2011 Architects released their fourth studio album [[The Here and Now]], described by many as melodic and ambitious "clean-cut post-hardcore".<ref name="exclaim.ca-2-Harms"/>{{sfn|Kelham|2012|p=69}} After completing one phone interview about the record once it was recorded, guitarist Tom Searle asked his manager for him to not be included in any more of the press for the rest of album's promotion as he felt he had "nothing good to say about it".{{sfn|Kelham|2012|p=69}} For the record the band set to fuse their typical sounds with the music they were listening too at the time. The response was polarised, with critics giving acclaim to their style while much of their fanbase panned the album and led to the band being accused of selling out.{{sfn|Kelham|2012|p=69}}<ref name="exclaim.ca-1-Zorgdrager"/> During the press for ''The Here and Now'' the band praised the record and saw it as a progression for them, as they believed they didn't want to reject an album they had just released.{{sfn|Kelham|2012|p=69}} Their lack of belief in the record and their growing concern that they were irrelevant started to severely affect the band's confidence in themselves and their style.<ref name="Rock Sound- WTMW">{{cite journal |last= Sayce |first= Rob |date= July 2013 |title= Welcome To My World: Sam Carter |journal= [[Rock Sound]] |issue= 175 |page = 40 |publisher= Freeway Press |editor= Ben Patashnik| location= London, United Kingdom |issn=1465-0185}}</ref>


Songs created during early demo sessions in following up ''The Here and Now'' became b-sides used for re-releases of the record.{{sfn|Kelham|2012|p=70}} During this time they became certain that they wished to make a "heavy" record again.{{sfn|Kelham|2012|p=71}} Tom Searle described the experience by counter-pointing that "some people might say we've regressed, but I think we've found our enthusiasm for playing heavy music again. I'm excited again by what I've come up with on guitar and lyrically it's much more political and less personal."<ref name="NME-balls">{{cite web|title=Architects 'We've got our balls back |url=http://www.nme.com/news/architects/62951|publisher= [[NME]] | date = 20 March 2012 |accessdate=30 March 2012}}</ref> The band started to write more socially aware lyrics during the writing phase of ''Daybreaker'', Architects' singer Sam Carter stated that this was a result of the band touring the world and seeing things that he felt was undermined within the media.<ref name="Rock Sound- WTMW"/>
Songs created during early demo sessions in following up ''The Here and Now'' became b-sides used for re-releases of the record.{{sfn|Kelham|2012|p=70}} During this time they became certain that they wished to make a "heavy" record again.{{sfn|Kelham|2012|p=71}} Tom Searle described the experience by counter-pointing that "some people might say we've regressed, but I think we've found our enthusiasm for playing heavy music again. I'm excited again by what I've come up with on guitar and lyrically it's much more political and less personal."<ref name="NME-balls">{{cite web|title=Architects 'We've got our balls back |url=http://www.nme.com/news/architects/62951|publisher= [[NME]] | date = 20 March 2012 |accessdate=30 March 2012}}</ref> The band started to write more socially aware lyrics during the writing phase of ''Daybreaker'', Architects' singer Sam Carter stated that this was a result of the band touring the world and seeing things that he felt was undermined within the media.<ref name="Rock Sound- WTMW"/>

Revision as of 12:41, 25 August 2014

Untitled

Daybreaker is the fifth studio album by British metalcore band Architects, released on 28 May 2012 in the United Kingdom and in the majority of Europe, and 5 June 2012 in the United States. This is the last album to feature guitarist Tim Hillier-Brook, who left the band on 16 April 2012 to pursue other interests. Daybreaker was co-produced by both the band and Ben Humphreys at Outhouse Studios in Reading, Berkshire, and used the same team and studio as for Hollow Crown. Noted by music writers for its varied elements, Daybreaker marks a musical shift back towards the technical sound of their earlier albums; particularly Hollow Crown, whilst incorporating a lot of the melodic elements of their previous album The Here and Now.

The album debuted on five different countries' charts, however performing poorly and failing to break any mainstream top 40. For the promotion of Daybreaker, Architects released five music videos, toured five continents (2012's Almost World Tour was detailed in the One Hundred Days documentary) and released one re-release of the album, to commemorate their departure from Century Media Records. The record received a mixed to positive response from critics, while some praised its use of atmospheric elements and returning to a heavier style, while others criticised its style as being uninspired.

Background and recording

In 2011 Architects released their fourth studio album The Here and Now, described by many as melodic and ambitious "clean-cut post-hardcore".[2][3] After completing one phone interview about the record once it was recorded, guitarist Tom Searle asked his manager for him to not be included in any more of the press for the rest of album's promotion as he felt he had "nothing good to say about it".[3] For the record the band set to fuse their typical sounds with the music they were listening too at the time. The response was polarised, with critics giving acclaim to their style while much of their fanbase panned the album and led to the band being accused of selling out.[3][4] During the press for The Here and Now the band praised the record and saw it as a progression for them, as they believed they didn't want to reject an album they had just released.[3] Their lack of belief in the record and their growing concern that they were irrelevant started to severely affect the band's confidence in themselves and their style.[5]

Songs created during early demo sessions in following up The Here and Now became b-sides used for re-releases of the record.[6] During this time they became certain that they wished to make a "heavy" record again.[7] Tom Searle described the experience by counter-pointing that "some people might say we've regressed, but I think we've found our enthusiasm for playing heavy music again. I'm excited again by what I've come up with on guitar and lyrically it's much more political and less personal."[8] The band started to write more socially aware lyrics during the writing phase of Daybreaker, Architects' singer Sam Carter stated that this was a result of the band touring the world and seeing things that he felt was undermined within the media.[5]

The band recorded the album at Outhouse Studios in Reading, Berkshire, the same location they recorded their previous albums Ruin (2007) and Hollow Crown (2009)[1] and the same production and engineering team as Hollow Crown;[9] including John Mitchell, who acted as Daybreaker's mixing engineer, and described the record by saying it was "the album they should have made after Hollow Crown".[10] Tom Seale noted that during the recording record that he and Tim Hillier-Brook were constantly practising the guitar riffs in order to get them perfect due to their technicality.[1]

For the recording of the album Architects invited Jon Green from Deez Nuts, Oliver Sykes from Bring Me the Horizon, and Drew York from Stray from the Path to sing on the album. They invited Green because they believed his screaming vocals had a screaming Satanic quality.[11] Sykes was asked because it was a "long overdue " collaboration from when Carter sung on Bring Me the Horizon's 2008 album Suicide Season.[11] Leading up to the album's release, on 16 April 2013, guitarist Hillier-Brook had announced that he would leave the band, citing that he wished to pursue other projects.[12] The band had noted that that Hiller-Brook didn't seem happy whilst apart of the band.[7]

Release and promotion

With a tentative release date of summer when it was initially announced[1] the album was released on 28 May 2012 in the United Kingdom.[9] In June 2013 Century Media Records re-released Daybreaker in North American exclusively for the band's performance at Warped Tour 2013,[13] which includes their new single "Black Blood," as well as covers of Bon Iver's "Blood Bank" and a Thrice's "Of Dust and Nations".[14]

Singles

In early November 2011 Architects announced their plan to release the first song from their at the time unnamed follow up album to the band's fourth studio album The Here and Now, "Devil's Island". The single was announced in early November, a month before its actual release. The single was released on 4 December 2011, a month after its announcement. As an iTunes bonus b-side song "Untitled" was added into the single download. In addition to its announcement it was streamed on the band's Facebook page.[15] Both the song and the music video that accompanied the release talk about and deal with the 2011 England riots, with the music video featuring clips of the riots.[16][17] The single itself was well received by critics for its return to the mathcore style of their third album, Hollow Crown. Thrash Hits believes that the "more-melodic aspects of Architects are still very much on show" but uses "increased harsh vocals" and the guitar tones are reminiscent of the first song off Hollow Crown, "Early Grave".[17] J.J. Nattrass of Bring The Noise UK said "the track is sweeping and melodic in parts, whilst bursting with high tempo and visceral raw energy in others."[18] Tim Dodderidge when writing for Mind Equals Blown praised the songs lyrics by saying "Architects has taken on an important issue in Britain today and made a song that questions humanity; it may have a lasting effect on listeners that bands like Rise Against have been able to do, though they sound nothing alike"[19] They supported the single's release by embarking on a five day UK headline December 2011 with supporting acts Deaf Havana, Tek-One and Heights.[15][20]

On 26 March 2012 Architects released a typography styled music video for These Colours Don't Run.[21] The music video was designed to "capture the madness that is America, be it good or bad". In the political context of the album guitarist Tom Searle wanted it "[to get] people thinking and talking. And in the land of the free — you know nothing is for free!"[22] The band's third single "Alpha Omega" was released on 7 May 2012. The song had its radio debut on 24 April 2012 though Daniel P. Carter's BBC Radio 1 Rock Show podcast.[23][24] The music video for the song was posted on 10 May 2012.[25] On 12 December Architects released another typography styled video for "Even If You Win, You're Still a Rat".[26]

Black Blood was released on 3 June 2013 as another typography video in promotion for the re-released version of Daybreaker.[27] Because it was released in conjunction with their performances at Warped Tour 2013 the song was featured on the Warped Tour sampler for free download on Amazon.com.[13] They initially wished to record a music video for the song, but since Tom Searle had been suffering Melanoma skin cancer they had to cancel shooting.[28]

Live performances

Architects' guitarist Tom Searle live in Colombia. The band performed in five different continents for the promotion of Daybreaker.

Throughout March Architects and Touché Amoré supported Rise Against's European tour.[29] Hillier-Brook completed his last tour with Architects' as they did an April 2012 British tour with Rolo Tomassi and Stray from the Path.[30] Across the last few months leading up to the large tours booked in support for Daybreaker Architects performed at several festivals between March and July. Including: the Swedish Konzerthaus Schüür in Lucerne, the La Boule Noire near Paris, Groezrock Festival in Belgium, British touring festival Slam Dunk Festival in both Leeds and Hatfield and finally three German festivals: Summerblast Festival, Traffic Jam Festival and Summerbreeze Festival[31] As Hillier-Brook had announced he was leaving Architects on 16 April 2012, with Groezrock Festival being his last performance with the band, Josh Middleton of Sylosis joined the band as touring guitarist.[12][32] In late April for a six day tour the band supported The Devil Wears Prada and Whitechapel in South America.[33]

Architects began promoting Daybreaker by playing several large European festivals throughout June and July, before a collection of tour legs in Southeast Asia, Australasia, North America and Europe which were dubbed the The Daybreaker Almost World Tour. The majority of tour dates were posted in July,[34] with the first leg of the tour being in August, with 16 dates in Canada with support from Struc/tures and Asightforsewneyes.[35] September saw the band head to Asia where they played dates in Hong Kong, Malaysia, Thailand, Singapore and Indonesia as well as multiple dates in China.[34] Throughout the end of September and early October the band completed a 12 date leg across New Zealand and Australia supporting The Amity Affliction, the first time Architects had toured Australia since December 2010.[35][36] The final leg of the tour took place in Europe,[34] with supporting bands such as While She Sleeps and Heights in mainland Europe, and Deez Nuts, Bury Tomorrow and The Acacia Strain in the United Kingdom. The UK leg included a stop at UK Warped Tour, a one date festival at the Alexandra Palace in London on 10 November headlined by Lostprophets and Bring Me the Horizon.[37] A documentary was made about the band's experiences on the tour titled "One Hundred Days: The Story Of Architects Almost World Tour".

In 2013 the band expanded their promotional reach to United States, a country they weren't confident in performing as they were "tired of losing money" with their tours in the country and that "[the band] were about ready to give up on America".[11] Starting in March, they supported Enter Shikari with as opening act Crossfaith[38] and then joined the American Warped Tour 2013 in June for the whole tour.[39] The band also made one off appearances in Europe at several summer festivals, including Download Festival 2013 in United Kingdom.[40] The band announced they were doing a third tour of the United States in 2013 in November and December with co-headliners Protest The Hero and support from The Kindred and Affiance,[41] as well as plans to go to Australia before 2013 had finished.[11] Architects final performance in support of Daybreaker is their first performance in India at the Saarang culture festival on 11 January 2014.[42]

Themes

Music

Truth, Be Told
The album's fifth track follows a "pacing and innovative, loop-like rhythmic structure"[43] while also offering a subtle nod to their technical style.[44]
Devil's Island
The album's first single has been described as a "full-body seizure set to electric guitar"[45] which opens with a "calming, sentimental intro"[19] and uses lyrics which comment directly on the 2011 England Riots.[46]
Problems playing these files? See media help.

Daybreaker is an "urgent and resurgent" record[3] and has been typically identified by critics as metalcore,[2][43] post-hardcore,[43][47] mathcore[48][49] and progressive metal.[45][48] The album is defined by a number of features, including a contrast of singing and extreme metal screaming,[50] and melodic choruses complemented by "soaring" vocals,[2][51] technical guitar work with palm muted breakdowns[44][52] and the use of string instruments and piano to generate atmosphere.[44] Tom Seale noted how the record was darker and heavier and "more technical and so much bigger" in comparison to the style of The Here And Now. Daybreaker is noted for fusing influences from their last two albums The Here And Now and Hollow Crown[2][44][49] and many reviewers have cited the album as returning to their heavier, more technical roots.[48][49] As the band fused the intense technicality and metallic style of Hollow Crown with the "soaring vocals" and the much improved production of The Here and Now.[2][44] Andrew Kelham when interviewing the band argued that "some will see Daybreaker as a apology, but it's not. Others will view it as a hasty attempt to claw back the glories of third album Hollow Crown, but it's not that either. It's a collection of songs about moving on, growing up and making sense of what has come before"[7]

The record starts with 'The Bitter End', an introduction built on skittish electronics,[45] dark piano chords, xylophone notes, orchestral harmonies, haunting vocals and lyrics.[48][53] The record then breaks into intense and heavy songs such as high-octane 'Alpha Omega'[52] and 'These Colours Don't Run', which is full of interesting rhythms and powerful melodies.[52]

The piano-led 'Truth Be Told' gives the record a break from the chaos and explores more post-hardcore territory by following a "loop-like rhythmic structure".[43][48] 'Outsider Heart'. Has been compared to the math rock guitar playing of Meshuggah.[43] 'Devil's Island' is defined by its guitar set to a full-body seizure and Carters shrieks.[45] Architects also began to experiment with elements which would help generate atmosphere, such as the addition of string instruments and piano to generate atmosphere.[44][49] This is done with the inclusion of melodic songs such as 'Truth Be Told', 'Behind The Throne' and 'Unbeliever'.[4][51] 'Behind the Throne' is an intense and atmospheric ambient-rock song,[43][48] with an grandiose, electro-drummed backdrop.[49]

Lyrics

It was the first time we'd written a song about something that was relevant socially and not just based on what I had directly experience through life or something else. It was bigger-picture, and when we released it that song got people talking about something broader than whether on not they think Bring Me the Horizon are better than Architects or vice versa.

Sam Carter's response when asked about the writing phase of Daybreaker and Devil's Island in an interview in 2012 .[6]

Lyrically, the album looks at negative aspects of religion and society,[51] and is seen as a "companion piece" to Enter Shikari’s A Flash Flood of Colour.[51] Daybreaker's lyrics were written by Carter and Tom Searle, focusing on political and 'bigger picture' themes.[1] The song Devil's Island has been stated by Carter as "one of the hardest songs to write" because of the prominence of its themes of rioting.[11] Tom Searle focused on its lyrics as well saying "With money firmly ingrained into our global society we really need to look to alternative solutions when problems like the riots occur because violence is never the solution."[46] For the song featured on the re-release, Black Blood, Carter has commented that it is about the oil industry, the people's strong dependence on the resource and how "short term profit is the only thing these people think about, instead of the longevity of what we really could do and how we could stabilize what's really going on in the world right now."[11]

Reception

Commercial performance

In the United Kingdom the album debuted at number 1 on the UK Rock & Metal Albums Chart[54] and number 42 on the UK Album Charts[55] with 3,208 albums sold. This is the highest charting release by Architects in their five album career, being the chart success of The Here And Now which got to number 57.[56] The album then fell to number 12 the following week on the Rock & Metal chart then dropped to number 33, then fell off the chart.[57] While in the United States the album debuted on the Top Heatseekers chart at number 28[58] with 1,200 CDs sold in its first week.[59] Outside of the US and Britain, the album charted in Belgium at number 182,[60] Canada at 144[61] and Germany at number at 93.[62]

Critical reception

Professional ratings
Aggregate scores
SourceRating
Metacritic(73/100)[63]
Review scores
SourceRating
About.com[43]
AbsolutePunk(69%)[49]
Alt Sounds(94%)[48]
BBC Music(Favourable)[52]
Big Cheese(4/5)[51]
Blare Magazine[47]
Canoe.ca[64]
Consequence of Sound[50]
Exclaim.ca(Unfavourable)[4]
Kill Your Stereo(78%)[65]
Metal Hammer(7/10)[44]
Punktastic[66]
Rock Sound(8/10)[53]

Upon Daybreaker's release it mixed to positive reviews from music critics. The positive focus of some reviewers praised the band for texturing and progressing their sound[49] and writing socio-political lyrics[51] while critical points were raised over Daybreaker sounding forced or formulaic.[4] At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 73, based on 8 reviews, which indicates "generally favorable reviews".[63]

AbsolutePunk writer Jason Gardner gave a prositive review of the album considering it an "enjoyable, unpredictable record".[49] He praised its fusion of influences from their previous two albums saying: "If there’s anything Daybreaker proves, it is that experimentation is inevitable in music, but learning to find a balance with what you already do is certainly a continual process."[49] About.com writer Ryan Cooper praised the album in a four out of five star review saying "[Daybreaker] laughs in the face of those who think passionate realism, artistic integrity and mass commercial appeal are all mutually exclusive. Daybreaker balances all three with pretty much perfect dexterity."[43][64] Raziq Rauf, writer at the BBC praised the band for album's musical diversity with its use of electronic songs like album opener The Bitter End and the band's use of technicality and melody in songs. Summarising the album by saying "Daybreaker is a great album. It’ll go down as one of Architects’ finest works – it’s certainly their most well-rounded release to date."[52] Big Cheese writer Paul Hagen praised the album's lyrical content stating that "Socially turbulent times seems to produce the best music and if bands can keep channelling genuine anger into their art, there are going to be some more really great albums released over the next few years."[51]

Canadian music magazine Exclaim! published two different reviews of the album. Bradley Zorgdrager gave the album an unfavourable review of the album's sound. Stating that although the tracks are "catchy and occasionally compelling, they're essentially identical and formulaic, as the atmospheric build-ups and soaring riffs make way for boring breakdowns. The metal-influenced parts sound forced to appease fans disappointed with their last release, which results in Daybreaker sounding more like a business move than a work of art."[4] While Scott Harms gave it a much more favourable review praising it for the band returning to a much more aggressive style. He credits it as incorporating influence from both previous albums saying "they have found a balance in which to return to the Searle brothers' heavy sounds while carefully incorporating Sam Carter's soaring clean vocals". summarising it simply "as a whole, it sounds epic."[2] Adam Rees of Metal Hammer gave Daybreaker a 7 out of 10 and acknowledged the now "abundant" inclusion of string instruments and piano and how they created atmosphere.[44] Ress ended his review by calling the album "A brave and brilliant British metal album."[44] Canoe.ca author Darryl Sterdan gave the album a lukewarm 2.5 stars out of 5 review commenting that "balancing their newfound sensitivity and maturity with plenty of good old-fashioned techno-metal frenzy and primal-scream aggro. Pity they didn’t write memorable songs while they were at it."[64]

Alt Sounds writer Candice Haridimou gave the album a rating of 94% out of 100% and praised the album's lyrical content. She commented on how the political nature of the album also uses emotional dramatization to capture the listener, particularly in songs like Devil's Island. Candice states the song "drives remorse into the cold hearts of those involved. It’s a severe and poignant song that will stand the test of time."[48] Ryan Bird-in an otherwise positive review of Daybreaker-criticised upon first listen arguing it struggled to settle into any distinctive rhythm or groove.[53] However, Bird concluded his review by saying "but despite its relative (and relatively few) faults. 'Daybreaker' represents a victory for a band who some had once been so eager to write off, suggesting that maybe- just maybe- they've got what it takes to bring both sides [of their fanbase] together."[53]

Accolades

Daybreaker featured on a few best albums of 2012 lists, including: Rock Sounds top 50 at number 48,[67]Kerrang!'s 101 at number 36[68] and Ourzone's at number 23 out of 25.[69]

Track listing

All music is composed by Architects

No.TitleLength
1."The Bitter End"2:55
2."Alpha Omega"3:55
3."These Colours Don't Run" (featuring Jon Green of Deez Nuts)4:01
4."Daybreak"3:32
5."Truth, Be Told"4:31
6."Even If You Win, You're Still a Rat" (featuring Oli Sykes of Bring Me the Horizon)3:12
7."Outsider Heart" (featuring Drew York of Stray from the Path)3:27
8."Behind the Throne"4:08
9."Devil's Island"4:06
10."Feather of Lead"2:50
11."Unbeliever"4:44
Total length:41:21
iTunes UK bonus tracks
No.TitleLength
12."Rise Against"3:51
Total length:45:12
Japanese bonus tracks
No.TitleLength
12."Cracks in the Earth"3:22
13."Rise Against"3:51
14."Untitled"3:29
Total length:52:03
US re-issue bonus tracks
No.TitleLength
12."Black Blood"4:07
13."Cracks in the Earth"3:21
14."Blood Bank" (Bon Iver cover)5:15
15."Of Dust and Nations" (Thrice cover)3:43
Total length:58:11

Personnel

Release history

Country Date Label Format Catalog number Source
United Kingdom
 May 28, 2012 (2012-05-28) Century Media CD/LP 9981881 [55]
Europe
 9981882 [60]
North America June 5, 2012 (2012-06-05) 188882 [71]
Japan June 6, 2012 (2012-06-06) Zestone —

Chart performance

Chart (2012) Peak
position
Canadian Albums Chart[61] 144
Belgium Album Charts (Ultratop)[60] 182
German Album Chart (MCC)[62] 93
UK Album Charts (OCC)[55] 42
UK Rock & Metal Albums Chart[54] 6
US Top Heatseekers[58] 28

References

Citations
  1. ^ a b c d e James McMahon, ed. (14 January 2012). "In The Studio Special: Architects". Kerrang! (1397). London: Bauer Media Group: 11. ISSN 0262-6624. {{cite journal}}: Italic or bold markup not allowed in: |publisher= (help)
  2. ^ a b c d e f Scott Harms. "Architects - Daybreaker • Metal Reviews • exclaim.ca". Exclaim.ca. Retrieved 7 July 2012.
  3. ^ a b c d e Kelham 2012, p. 69.
  4. ^ a b c d e Bradley Zorgdrager. "Architects - Daybreaker • Metal Reviews • exclaim.ca". Exclaim.ca. Retrieved 7 July 2012.
  5. ^ a b Sayce, Rob (July 2013). Ben Patashnik (ed.). "Welcome To My World: Sam Carter". Rock Sound (175). London, United Kingdom: Freeway Press: 40. ISSN 1465-0185.
  6. ^ a b Kelham 2012, p. 70.
  7. ^ a b c Kelham 2012, p. 71.
  8. ^ "Architects 'We've got our balls back". NME. 20 March 2012. Retrieved 30 March 2012.
  9. ^ a b "ARCHITECTS: New Album Cover Artwork Unveiled - Feb. 28, 2012". Blabbermouth. 28 February 2012. Retrieved 29 February 2012.
  10. ^ Andrew Kekham (July 2012). Darren Tayor (ed.). "Desk Jockeys". Rock Sound (162). London: Freeway Press: pages 82. ISSN 1465-0185. {{cite journal}}: |pages= has extra text (help)
  11. ^ a b c d e f Jake Denning (26 June 2013). "Architects (UK) - 06.26.13". Absolute Punk. Retrieved 10 September 2013.
  12. ^ a b "Architects Part Ways With Guitarist". Rock Sound. (Freeway Press). 16 April 2012. Retrieved 10 December 2013.
  13. ^ a b Michael Giegerich (3 June 2013). "Architects Debut "Black Blood"". Under The Gun Review. SpinMedia. Retrieved 10 December 2013.
  14. ^ "Architects Cover Thrice & Bon Iver For New Re-Release Of "Daybreaker"". The PRP. 30 May 2013. Retrieved 1 November 2013.
  15. ^ a b "ARCHITECTS To Release 'Devil's Island' Single, 'Untitled' Digital Single; Announce Dates With RISE AGAINST". Brave Words & Bloody Knuckles. 4 November 2011. Retrieved 17 July 2012.
  16. ^ "Architects - 'Devils Island' video". New Musical Express. 4 December 2012. Retrieved 17 July. {{cite web}}: Check date values in: |accessdate= (help)
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Bibliography
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