Architecture in Helsinki
Sitting high atop MetaCritic’s All-Time High Scores list is Brian Wilson’s brilliant Smile. (Metacritic’s numerical ratings in this case may be slightly inflated, but the sentiment is correct.) Smile seems to have ushered in an overly-dense-symphonic-pop renaissance: last year’s Blueberry Boat and now this year’s sophomore release from Architecture in Helsinki, In Case We Die.
Australia’s Architecture in Helsinki are an 8-piece band (finally, a large band that doesn’t call themselves a “collective”) that boasts several distinctive singers, horns, detailed percussion, production that stitches it all together flawlessly, and most importantly, songs. Catchy little melodies that give way to catchy horn lines and other vocal melodies.
What separates In Case We Die is that each song contains section after catchy section of melody. Where a standard indie pop band would build a song around 2 or 3 sections, Architecture in Helsinki go through 2 or 3 sections, then throw them away and move on to 2 or 3 more. In a single song. This is an epic CD that somehow clocks in at a concise 42 minutes. It leaves you feeling satiated and slightly overwhelmed, but surprisingly eager to jump back in for another listen. This is what the Polyphonic Spree should sound like. There are days when I (gasp) even wish Blueberry Boat felt a little more like this.
It’s not without its faults: occasionally the drums feel too confined by a click-track (a necessity for recording this many layers), instrumental track “Rendezvous Potrero Hill” feels unnecessary, and some of the energetic peaks should be stronger. But this is symphonic pop that doesn’t sacrifice the “pop” for the “symphonic.” One of the year’s best so far.