Producer Henrik Udd Discusses Recording Architects’ ‘All Our Gods Have Abandoned Us’

Henrik Udd – alongside Fredrik Nordström – forms one half of the production team behind a number of bona fide classics in modern heavy music. In additon to Architects’ ‘Lost Forever / Lost Together’ and ‘All Our Gods Have Abandoned Us’ – winner of Best Album at HMA17, at which Udd and Nordström jointly picked up the Best Producer award – Udd has also set an incredibly high bar with production work on LPs from Bring Me The Horizon, At The Gates, Delain, Powerwolf, I Killed The Prom Queen, Hammerfall and many more.


Heavy Music Awards 2017 - Photo by Niki Jones


Hi Henrik. Could you tell us about your path to becoming a producer? Was it always your ambition?
It wasn’t really my plan to become one in the first place and I don’t always consider myself as a 100% producer! I just love everything about music production, from mixing, mastering, dialling in tones etc and in metal music it’s pretty typical that the guy who does all these things is the producer.

How did you come to be working together with Fredrik?
While going to audio school I started interning in the studio, back in 2003. My first gig was moving kick drums on Dimmu Borgir’s legendary ‘Death Cult Armageddon’ album that Fredrik was working on during my first 5 weeks of internship. After finishing audio education I got really fed up with my current job so I decided to quit one day and went straight to the studio asking Fredrik if I could do some more internship. That later led to me getting full-time employment when the previous guy working there decided to leave.

Could you describe your role in the studio when you are working together?
In January 2017 I started up my own company so I’m no longer employed by Studio Fredman. Working together with Fredrik has been great and it lasted for over 10 years. We’ve been able to complement each other in many ways and it’s a huge advantage to have another colleague around at all times and be able to get each other’s opinions on something on the spot. Or, if someone is mixing, the other one can come in with fresh ears and point out what could be better etc.


Architects with Henrik Udd and Fredrik Nordström


Photo: Andrew Hayball


Could you give us a quick description of the studio set-up for ‘All Our Gods Have Abandoned Us’?

We started by recording the drums for all songs to the pre-recorded guide guitars. Dan played on his SJC Custom kit.

  • Snare drum top and bottom were mic’d with a Sanken CU 31 (Japanese small condenser mic)
  • Kick drum were mic’d with a Shure SM91 inside the kick drum and a U67 mic outside
  • Toms were mic’d with a Shure Beta 56
  • Main overheads were mic’d with Neumann KM 184
  • There’s some support mics for ride, splash and china which is Shure KSM141
  • The pre-amps for the mics are SSL Xlogic SuperAnalogue Channelstrip and Vintech x473

After the drums where finished we did the rhythm guitars and also started off bass guitar.

  • The guitars were Mayones
  • The amps we used were an EVH III, Peavey 5150, Diezel Herbert and a Mesa Boogie Dual Rectifier
  • We used cabs from ENGL, Marshall and Mesa Boogie
  • All the rhythm guitars were quad tracked, i.e. recorded 4 times

The bass guitars were from Dingwall for the lowest tuned songs and from Sandberg for the rest. Bass guitar was a  straight line signal into Pro Tools Sansamp plugin.

We also started to do vocals as early as possible since it’s good for the vocalist not have to rush it all out in the end when everyone else has finished recording.

Sam sang into a CM47 Advanced Audio Microphone. The pre-amp is an SSL XLogic Superanalogue Channelstrip with some moderate compression.

Before ‘All Our Gods Have Abandoned Us’, you first worked with Architects on ‘Lost Forever / Lost Together’, which was viewed by many people as the band’s finest album to that point. How did your approach change for the ‘All Our Gods…’? Was there any pressure?
I felt some pressure during the mixing process cause I knew it would get really hard to top the previous album. But the songs and source material that this band deliver is always top quality which helps tremendously to make things a lot easier for the mixer. I could tell straight away from the demos that this had some kind of dark themed shadow over it all and it almost made me feel uneasy but in a beautiful way. For me, it’s all about trying to capture this and trying to make it as good as it can possibly get.

Your relationship with Architects seems to have become almost like family now – how would you describe that relationship? And how does that differ to working with other artists?
If the chemistry is right, this kind of family member relationship as you say, is something that will happen in many cases when working intensely and close to each other with a common goal. What’s a little bit unusual with Architects as a band is the warm hearted chemistry within the band towards each other. In many bands there’s this strong hierarchy and a competitive feeling which doesn’t really open up the group to anyone on the outside. There’s probably a hierarchy in Architects to but they’re all just genuinely nice guys!

Obviously ‘All Our Gods…’ has become an even more significant album as it was Tom Searle’s swansong. Clearly this had a huge influence on the songs and lyrics – how would you say it impacted the recording process?
I don’t think I really understood the state that Tom was in. He kept the spirits and mood so high and enjoyed recording so much. Such a funny guy, it was a joy being around him in the studio. There was one time in the middle of Tom’s guitar recording where he had to fly back to England to do some unplanned extensive surgery. I thought that the recording would be paused and pushed forward from there on – or maybe never finished – but he came back the very next day ready to get back on it again. Such a trooper!


Heavy Music Awards 2017 - Photo by Niki Jones


Why do you think fans and industry have connected with ‘All Our Gods…’ in such a positive way?
I think the songwriting, performance and production on this album is great and it has some real weight to the lyrics. Sam’s ways of expressing those words together with the heavy rhythms and beautiful ambient soundscape speaks to a lot of people I guess.

What projects are you working on now?
Right now I’m mixing a really cool band called Myrath. It’s a progressive oriental metal band from Tunisia.

Category Spotlight: Best UK Band

We’re taking a closer look at the finalists for the inaugural Heavy Music Awards – if you’re still trying to decide your favourite, or if you’d like to discover some new artists, this is a great place to start.

First up it’s Best UK Band, a category presented by Uprawr.

Please note: judges had the option to keep their votes private. The lists you see below are from judges who were happy to publicise their selections.


The release of ‘All Our Gods Have Abandoned Us’ preceded a period of intense public grief for Brighton’s Architects, following the passing of guitarist Tom Searle. The band had just turned in what many critics hailed as a career-best album, and yet, even with such a huge emotional challenge to overcome, the band continue to build a reputation for their incendiary live show and genuine connection with their fanbase.

Architects received nominations from*: Tom Taaffe (UTA), Emma Van Duyts (Public City PR), Warul Islam (Communion), Stephen Hill (That’s Not Metal), Tom Stabb (Sony), Alex Herron (Scuzz), Sophie K (Freelance), Peu Cheung (ADA), Paul Towers (Impericon), Luke Logemann (UNFD), Louis Dale (Eagle Rock), James Monteith (Hold Tight PR), Joe Naan (Live Nation)…

Biffy Clyro

Biffy Clyro straddle the fence between rock and pop – with a set that can easily be tweaked for Download or BBC Radio 1’s Big Weekend – but with a catalogue that features more than its fair share of genuinely enormous riffs, their place among more traditionally heavy artists is assured. Seventh album ‘Ellipsis’ was released in July 2016 and promptly set up camp at the top of album charts in five countries, giving the Scottish trio their second UK number one album.

Biffy Clyro received nominations from*: Christian D’Acuna (The O2), Roberto Bua (Twickets), Smiley Dave (DJ / Presenter), Carly Maile (Somethin’ Else), Jo Kendall (Freelance), Jennyfer J. Walker (Freelance), Jack Parker (All Things Loud)…

Black Peaks

Brighton’s Black Peaks formed in 2012 under the name Shrine, and have gone on to produce a debut album, ‘Statues’, that is beloved to critics, fans and fellow artists. Vocalist Will Gardner possesses a unique range, often pivoting from guttural bellows to a delicate falsetto to rabid screams in the same song. The band’s invitation to open for fellow HMA17 finalists Deftones at their mammoth Wembley Arena show demonstrates their acceptance at the top table of heavy music.

Black Peaks received nominations from*: Emma Van Duyts (Public City PR), Stephen Hill (That’s Not Metal), Rob Collins (Cooking Vinyl), Lauren Reading-Gloversmith (Inception PR), Lottie Hunt (BIMM), Mark Rawlings (EMP), Andy Saiker (Warner), Callum Galbraith (Universal), Christopher Lee (Punktastic), Daniel P. Carter (BBC Radio 1 Rock Show)…

Black Sabbath

If you need an introduction to Black Sabbath, you’re on the wrong website.

Black Sabbath received nominations from*: Michelle Wood (Songkick), Renaud Doucet (Deezer), Ben Ward (UTA), Tony Wilson (TotalRock), Tom Lynam (Tone Management), Will Beardmore (Warner), Ryan J. Downey (Superhero Artist Management)…

Bring Me The Horizon

Sheffield’s Bring Me The Horizon have carved out a career many of their contemporaries can only envy – creative freedom, a steady growth to arena-level success across the world, and – almost in spite of their detractors – the talent and courage to venture into areas few would even dream of visiting. The success of their 2016 Royal Albert Hall show in aid of Teenage Cancer Trust – backed by a full orchestra – hints at even more exciting curveballs in the future.

Bring Me The Horizon received nominations from*: Andrew Daw (Universal), Jon Mahon (Generation Entertainment), Daniel P. Carter (BBC Radio 1 Rock Show), Helen Buffett (Eagle Rock), Jack Davis (Uprawr), Mel Clarke (DJ), Paul Shuff (Freelance), James Loughrey (Producer), Lais Martins Waring (LD Communications)…


Having emerged from Southampton’s dark underworld and signed to Roadrunner Records, Creeper have made fast work of winning over fans and industry alike. Their debut album ‘Eternity, In Your Arms’ arrived in March 2017, but while their rapid success has elevated them to cover stars seemingly overnight, it is the band’s impeccable attention to songcraft and visual detail that has transcended the horror punk scene they cherish so dearly, firming up that indisputable connection with listeners of all ages and backgrounds.

Creeper received nominations from*: Gus Hully (Official Charts Company), Will Beardmore (Warner), Mike Heath (Dead Press), Dave Rajan (Parlophone), Jack Parker (All Things Loud), Jamie Graham (Sumerian), Liam Spencer (Artery Global), Chloe Scannapieco (Freelance), Jack McGurran (Rock Entertainment), James Isaacs (Blackfinch Design), Stephen Hill (That’s Not Metal), Emma Davis (CAA), Corinne Cumming (Captured By Corinne), Lauren Reading-Gloversmith (Inception PR)…

Frank Carter And The Rattlesnakes

Having enjoyed critical success in both Gallows and Pure Love, Frank Carter’s latest project sees him settling into a role that the Watford vocalist says himself fits better than ever. Their relentless touring schedule has seen them build a reputation as a fearsome live spectacle, while the fearlessness of their songwriting endears the band to fans of anything from crusty streetpunk to Britpop.

Frank Carter And The Rattlesnakes received nominations from*: Christopher Lee (Punktastic), Sue Reinhardt (Eleven Seven), Will Beardmore (Warner), Judith Fisher (BJF Media & PR), Mike James (TotalRock), Christian D’Acuna (The O2), Ben Davis (Ben Davis Touring), Adrian Storry (DJ / Promoter), Steph Van Spronsen (Live Nation)…


*This list is just a selection of judges to have nominated this artist.

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