11 Songs, 36 Minutes

EDITORS’ NOTES

Australian indie pop collective Architecture in Helsinki here follow the mainstream pop path they appeared to be shuffling down on 2011’s Moment Bends. It’s only natural that a band captivated by ‘80s-styled synths, drum machines, and vocal manipulation would eventually make recordings that eschew quirky ‘90s-style weirdness for accessible mainstream synth-pop. After all, the sounds they love were rarely used in alternative rock or underground pop circles; it's appropriate that the slimmed-down ensemble try their hand here at writing radio-friendly pop music. The joyous bounce of “In the Future” and the lightweight beats, sweetened vocals, and obvious chorus of “I Might Survive” scream of commercial aspirations. The electro-pop cover of Jackie DeShannon’s “When You Walk in the Room” is reminiscent of ‘80s pop star Tiffany working over ‘60s pop hits. The deliberate mindlessness of “Boom (4eva)” screams parody while being the real thing. Longtime fans who loved the excessive baroque pop from the days when 30 instruments could be jammed on a track may be disappointed, but fans of bright ‘80s-influenced modern pop are likely singing along to “U Tell Me” and “Born to Convince You.”

EDITORS’ NOTES

Australian indie pop collective Architecture in Helsinki here follow the mainstream pop path they appeared to be shuffling down on 2011’s Moment Bends. It’s only natural that a band captivated by ‘80s-styled synths, drum machines, and vocal manipulation would eventually make recordings that eschew quirky ‘90s-style weirdness for accessible mainstream synth-pop. After all, the sounds they love were rarely used in alternative rock or underground pop circles; it's appropriate that the slimmed-down ensemble try their hand here at writing radio-friendly pop music. The joyous bounce of “In the Future” and the lightweight beats, sweetened vocals, and obvious chorus of “I Might Survive” scream of commercial aspirations. The electro-pop cover of Jackie DeShannon’s “When You Walk in the Room” is reminiscent of ‘80s pop star Tiffany working over ‘60s pop hits. The deliberate mindlessness of “Boom (4eva)” screams parody while being the real thing. Longtime fans who loved the excessive baroque pop from the days when 30 instruments could be jammed on a track may be disappointed, but fans of bright ‘80s-influenced modern pop are likely singing along to “U Tell Me” and “Born to Convince You.”

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