Album review: Architecture in Helsinki, Moment Bends (for The Music Network)

06 April 2011

by Poppy Reid

It’s been almost three years since we’ve heard a Beep out of Melbourne indie-pop trailblazers, Architecture in Helsinki. 2008’sThat Beep EP tied over fans momentarily but their fifth and latest offering, Moment Bends is the quintet’s first since Places Like This in 2007, and their first ever under new label, Modular Recordings.

The bulk of Moment Bends is certainly worth the wait; it’s full of fizzing pop surprises and ‘80s nostalgia that nods its head sonically toGeorge Michael, Prince and even the sizzling spunk of Scissor Sisters. However, these tips of the hat are so cleverly disguised the record should only be viewed as a quintessential AiH installment, only with more maturity than a block of blue cheese.

Album openers, Desert Island and Escapee introduce pop at its most simplistic; lead singer, Cameron Bird works his loud whisper around the lapping synths and group chants, it’s clear the vocals were written and laid down last, as they should be.

First single, Contact High sounds like a Prince B-side. This is in no way a negative statement, it buzzes with energy but not because of a high tempo or vocal aggression. It’s the stoned Cookie Monster who decorates the background and the sweet sonic tilts that jump into chorus and verse without warning that make it so appeasing.

The shortest track on the record is also the biggest disappointment;Kellie Sutherland’s low, soft drawl in W.O.W discredits her voice capabilities which are found on past track, That Beep (the inclusion of this little gem in Moment Bends will be much appreciated). Denial Style highlights the same disheartening vocals from Sutherland, anAtomic Kitten could very well have written these two tracks which when compared to the other pioneering additions, only adds to the let down.

Contrasting the aforementioned and it’s own title is the epic track,Sleep Talkin’. The drooling guitar licks and heavy voice projection wakes you up to the most noteworthy track on the album, right down to its abrupt end.

“Night traffic in my van, I drove slow baby, before you came to life,” Bird sings lasciviously in I Know Deep Down about the bands’ post-recording method of driving Melbourne’s highways listening toMoment Bends’ tracks.

Album closer, B4 3D is indicative of the album as a whole, lyrics like “you put the ache into make believe” sprinkle over billowing synths that are more polished and adamant than their past four full-length releases. AiH will always have an adolescent sheen about them but this matured offering should put them back on the proverbial map.

Moment Bends is released April 8 through Modular Recordings