I’ve always had a problem with synthesizers – I blame too much time (the 12″ version) trying to cop off to Tainted Love as a nipper. So, my initial impression part way into this third album from the ‘lovable Aussie loonies’ was that I would struggle to get to the end of it. The aforementioned electronica often provides the underlying drive for groove-led tracks topped by Cameron Bird’s shouty vocals – it can all get a bit one-dimensional – Feather in a Baseball Cap being the prime example. If this is the sound of the Go! Team padded out with an arty Arcade Fire style collective, then they are too often missing the manic insuppressible joy of Ninja. Groovy like John Shuttleworth’s Pigeons In Flight.

However, things began to perk up with third track Hold Music, with phat (as the kids say) brass providing some oomph and echoes of the B-52′s Love Shack. Bird’s voice relaxes too – for all the world as if Midnight Oil’s Peter Garrett has put in a guest appearance. At last my feet wanted to move. This is more like the 2005 form of firm favourite It’5. Like It Or Not has a beaming grin on its face with the Architecture in Guadalajara and the down-home style of a funked up Beirut. Synthesizers take a back seat to acoustic guitars and there’s a welcome outbreak of vibrancy. You can see it stripped down to its undies live on the streets of Paris here. Meanwhile, the positive streak on the album continues with Debbie: hi-jacking Sister Sledge’s high-hat and the brass section taking it to the bridge. Bird is shouting again, but I’m sort of used to it by now. I can even cope with the cheesy keyboard. Lazy (Lazy) lopes along in a loose Talking Heads/Tom Tom Club groove and keeps the pot simmering nicely, ending with a sparkling Zimbabwean jit guitar duel. Nothing’s Wrong is a mad potpourri of a song that begins with bongos and includes a psychedelic Hawkwind diversion. As the album thumps its way to a conclusion with The Same Old Innocence, my attention dips to mirror the piano and viola change in gear finale.

Although there are quirky highs, the everything but the kitchen sink approach has it limits when the atmosphere just isn’t spot on. That vital spark is missing as often as not on this album. Funky synths are really not my (polythene) bag, but on reflection they don’t dominate. Even so, I still can’t help thinking that this would be much more enjoyable if it was more organic, if there was more room to breath. It’s hard to dance when you’re feeling claustrophobic, but there are a few tracks that’ll get you throwing some shapes. Just mind your head on the low ceiling.
62%

Links
Architecture in Helsinki [official site] [myspace]
mp3:> Architecture in Helsinki: Heart It Races
[From Places Like This; out 13/08/07 on Tailem Bend]