Daybreaker received a positive response from critics; some praised its use of atmospheric elements and the return to a heavier style, while others criticised it as uninspired.

[2] But their own 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.

[1] 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 "Satanic" quality,[10] while a collaboration with Sykes was something the band considered "long overdue", since Carter had sung on Bring Me the Horizon's 2008 album Suicide Season.

[6] According to Andrew Kelham, Daybreaker is an "urgent and resurgent" record;[2] it has been identified by critics as metalcore,[12][17] progressive metal,[14][18] mathcore[18] and post-hardcore.

[12] Architects have been credited for fusing the intense technicality and metallic style of Hollow Crown with the "soaring vocals" and the much improved production of The Here and Now.

[13][17] The album is defined by a number of features, including a contrast of singing and extreme metal screaming,[19] and melodic choruses complemented by "soaring" vocals,[17][20] technical guitar work with palm muted breakdowns[13][21] and the use of string instruments and piano to generate atmosphere.

[6] The record's opening track is "The Bitter End", an introduction built on skittish electronics,[14] dark piano chords, xylophone notes, orchestral harmonies, haunting vocals and lyrics.

[18][22] The album then breaks into intense and heavy songs such as "high-octane" tracks "Alpha Omega"[21] and "These Colours Don't Run", which are full of "interesting rhythms and powerful melodies".

[21] The piano-led track "Truth, Be Told" gives the record a break from the chaos; it explores post-hardcore territory by following a "loop-like rhythmic structure".

Lyrically, the album discusses negative aspects of religion and society,[20] and is seen as a "companion piece" to Enter Shikari's A Flash Flood of Colour.

[8] In June 2013, Century Media Records re-released it in North America exclusively for the band's performance at Warped Tour 2013.

[24] In early November 2011, Architects announced a plan to release "Devil's Island", the first song from the then-unnamed follow-up to their fourth studio album The Here and Now.

Thrash Hits said, "more-melodic aspects of Architects are still very much on show", that the song used "increased harsh vocals" and that the guitar tones were reminiscent of those on "Early Grave", the opening track of Hollow Crown.

[26] J.J. Nattrass of Bring The Noise said, "the track is sweeping and melodic in parts, whilst bursting with high tempo and visceral raw energy in others.

[23] The band initially wanted to record a music video for the song but they cancelled shooting because Tom Searle was afflicted with skin cancer.

[11][41] In late April, Architects supported The Devil Wears Prada and Whitechapel on a six-day tour of South America.

[44] In September, the band headed to Asia to play dates in Hong Kong, Malaysia, Thailand, Singapore, Indonesia and China.

[10] Starting in March, with opening act Crossfaith they supported Enter Shikari[47] and then joined the American Warped Tour 2013 in June.

[49] The band announced they would tour the US for the third time in 2013 in November and December with co-headliners Protest The Hero and support from The Kindred and Affiance.

[52] About.com writer Ryan Cooper praised the album, awarded it four stars out of five and said it "laughs in the face of those who think passionate realism, artistic integrity and mass commercial appeal are all mutually exclusive.

He said 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.

[13] Canoe.com author Darryl Sterdan awarded the album 2.5 stars out of 5, saying it "balanc[es] their newfound sensitivity and maturity with plenty of good old-fashioned techno-metal frenzy and primal-scream aggro.

"[18] Ryan Bird, in an otherwise positive review of Daybreaker, criticised it upon first hearing it; he said it struggled to settle into any distinctive rhythm or groove.