Send "Architecture in Helsinki " Ringtones to your Cell 
| Pitchfork |
 It's a problem every precocious, cutesy twee band eventually faces: How do you grow up and put away the proverbial glockenspiel? Belle and Sebastian went 1970s AM gold, Los Campesinos! developed a gothically morbid streak. Throughout Architecture in Helsinki's career, they've tried to grow into an adult voice, with some pubescent cracks and hiccups along the way. Their first two albums had the feel of clever kids run riot in the band room after school, fooling around on French horn and whatever else was around. Their third saw them streamlining things, dropping a couple of members and replacing much of the studiously charted acoustic ruckus with synthetic instrumentation. Moment Bends finds them even further along that path, moving from the gleefully transparent clutter of their early albums to a more highly polished pop sound.Moment Bends is also oddly indebted to the sonic palette of the lite-FM 80s. Synths are dialed into glassy pads, ersatz pan flutes, and gentle fluttering arpeggios. Several songs feel like echoes of specific new wave/age hits, even, although everything is absorbed thoroughly enough as to not be intentional "spot-the-reference" nods so much as a fully digested overall sound. Sometimes, it works. "Escapee" is an energetic cut, with swinging synths standing in for ska horns. "Yr Go To" bops along with a supremely catchy, sing-song cadence. "Everything's Blue" begins as a bass-and-drums disco strut with layered vocals (falsetto, female, and bass) and vamping guitar, then flowers into a chorus with twinkling synths and a briefly materializing gospel choir. "Sleeptalkin'" similarly alternates between easy, free-falling guitar strum and glossy chorus....full text |
| Prefixmag |
| Architecture in Helsinki caught fire with their pop-infused 2003 debut, Fingers Crossed. And from then on, it appeared that the Australian band had found its lane by blending heavy '80s vibes, like those of the B-52's and other new-wave acts, with ample amounts of modern indie. But Architecture in Helsinki wanted to go a slightly different route with their fourth album, Moment Bends, which came nearly four years after their third, Places Like This. Moment Bends still boasts moments of caffeinated pop, but the group has become more mature over time, resulting in a more sophisticated, reflective sound....full text |
| Theaureview |
| Architecture In Helsinki are like that friend you always dance with when you go out, but can never handle before midnight and without a drink. They are fun to be with, although you can only stand them in small intervals. For this reason, I hesitated at the thought of listening to Australian act Architecture In Helsinki’s latest release, Moment Bends. Whilst I have enjoyed listening to their previous hits "It’s 5" and "Debbie", I did not think I could sustain my interest in the band for an entire LP. However, I was pleasantly surprised. Moment Bends signifies a new era in Architecture In Helsinki’s sound. Gone are the hyper and disjointed sounds the group has been known for, and in comes a more produced sound with a distinct structure. The ‘weird’ factor is no longer the defining feature of the group, as their tracks now have the capacity to be commercial hits. As terrible as this may sound to old fans, do not be deterred. By no means have the band lost their individual sound, but there is a definite sense of pop and commerciality to this album that has not been previously showcased. The album’s first single, "Contact High", which has already generated considerable radio airplay, is reminiscent of Architecture In Helsinki’s earlier hits, but has lost half the instruments and abstract lyrics in favour of a sleeker sound, able to be appreciated by pop and dance lovers everywhere. Interesting is the inclusion of the track "That Beep" on the album; a song that was released in 2008, over two years before Moment Bends. Funnily enough, "That Beep" was the lowest point of the album for me, as I have always found it to sound like a children’s song. Final track, "B4 3D", is a perfect example of Architecture In Helsinki’s new found sound, as we hear the group produce a slow tempo song without a heavy reliance on instruments. Moment Bends shows more diversity between tracks, whereas previous Helsinki works have seemingly amalgamated into the one long, ridiculous song. Whilst I am aware that fans of the band’s earlier work may be disappointed by the album’s new direction, I believe it’s for the best. The originality of Architecture In Helsinki is still present (simply look at the music video of "Contact High" as evidence), but they, like everyone else, have matured over the past four years since their last album, Places Like This. We all eventually grow up, and I doubt that in ten years my drunken friend will still be as fun to dance with in clubs....full text |
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