“These meat-and-potatoes Missourians spend their third album returning to the scene of the crime: Murders on the Jersey Shore, Outlaws in Oklahoma, Salinas jailbird's daughters on the lam, MILF's seducing future MFA's in Orange County. They wear black and carry guns like Dad did, but so do the crooked cops.. (3 1/2 Stars)”
““’Daddy Wore Black’ , a cautionary tale about a drug dealer comes off like a Midwestern take on Rancid’s ‘Time Bomb’ and ‘Oklahoma’ is a bloody, country-punk revenge story. A tale of a crooked sheriff who gets what’s coming to him, it recalls a more boyish Social Distortion. ‘New Boots and Truncheons cements The Architects as cheerleaders for the underdogs; with it’s celebration of street protests turning into brawls, it’s an all-American version of the Rolling Stones ‘Street Fighting Man’ updates for the 21’st century. Fighting a losing battle against riot police never sounded so fun and that’s really what makes this such a great album.””
"Starting a three-hour show with a band like the Architects is like starting a hockey game with a bench-clearing brawl. "
““If you are looking to get a song stuck in your head all day, then this band will accomplish that for you..”Vice” is a must have album for any fan of good music. “”
““At a point in time when most loud rock bands rely way too much on technology to hide the fact that their songs have no substance, these guys come across as sounding genuine and real. “”
“The music…is thoroughly contemporary, a simmering mix of rock, punk, and post-punk. The infectious "Daddy Wore Black," combines Who-ish power chords with Cheap Tricky pop/rock to great effect. The Architects don't always cross their genres. The stomping good-time rock & roll of "New Boots & Truncheons" is pure classic rock at its anthemic best and the blistering "Cold Hard Facts" is a headbanger in an AC/DC mold. "Pills" makes a nonsense of such distinctions, perfectly poised as it is on the thin line between punk and rock. Hard-driving, hard-drinking, but reeking of strong melodies and infectious choruses, this is one vice listeners will have no desire to kick.””
“Where their previous albums flirted with traditional hard rock and metal (like on tracks such as “Don’t Call it a Ghetto” from 2006’s "Revenge"), they always seemed comfortable in the punk-rock category. With "Vice," it appears they’ve decided to completely rip down the iron curtain separating punks from hessians and embrace the other side…First, "Vice" is incredibly rockin’. From the vocals to bass, drums and guitars, it’s a recording that shows no pretense, other than taking the balls to the wall. And what distances "Vice" from most modern rock is the sense of danger in their loud, sometimes harsh creation… The live show is captured, not filtered”
“Musically, these guys solidly hammer their message home with finely wrought craftsmanship and rock star swagger. In the capable hands of The Architects, rock and roll gets a bruising, brawling slap in the face”
““Hardworking, broken-backed, sweaty-headed, scruffy-looking Kansas Citians the Architects have never tried to win folks over with much more than relentless punk-drenched rock-and-roll honesty. Now, with Vice, the group amps up its sound to arena-rocking levels, throwing in plenty of gang vocals and melodic hooks to make sure it reaches the proles in the cheap seats. In other words, the Architects have gotten catchy — and they sound like they're having more fun than ever.”
““Their music is hellaciously primal but not primitive -- hellbent, but precise.””
"Bastards At The Gate" is a classic "us vs. them" anthem that channels Bad Religion's defiant lyricism and the soccer hooligan chants of the Bouncing Souls. The Architects successfully follow a similar framework for the hooky "Knowing Is Half The Bottle." Stronger yet is album highlight "I Carry A Gun," in which all of the band's most powerful elements--stadium-sized guitars, pissed teen-misfit lyrics, compositional curveballs and Brandon Phillips' gruff vocals--create a delightfully violent arena rocker.
“One is tempted to use clichés like soulful and gravelly in describing the man's voice. Fuck that — fighter jets explode in midair when that motherfucker yells.”
“What’s different this time around? A bolder recording for sure… and a major league single in the second track, “Bastards at the Gate.” There’s also a bit of full-circle maturity to The Hard Way, with streams of ‘77 style anthem-blaring punk rock oozin’ through the cracks of the band’s hard-shell garage-rock persona. Outside of “Bastards…” “Death Rides A Horse” is unquestionably, the album’s other standout song, with big ol’ bouncy guitars and hoarse vocals with country-western themed lyrics. Think AC/DC in a saloon. A tune like “Hell Came to Breakfast” smacks of AVAIL comparisons, particularly with the jagged bass lines and busy drumming, while album closer “This Wasted Ocean” could slide nicely into the Springsteen catalog. THE ARCHITECTS are like a patented product sold through an infomercial that sounds too good to be true, but in reality still functions great and offers true value. Maybe one day, they’ll eventually get the “As Seen On TV”