Operator Please first burst onto the indie-pop scene in 2007. Their infectious singles,  'Just A Song About Ping Pong' and 'Leave It Alone' won them airplay, UK festival appearances, gigs and, ultimately, fans. Their clean teenage faces and violin-infused pop-rock gave them their charm, but it seems as though they’ve lost some of their sparkle.At the time Operator Please landed on our shores from Australia, the UK was under the spell of a quirky offshoot of indie-pop. Remember the Klaxons/ CSS/ The Ting Tings mania a few years back? This phase has since diluted and diversified, so if Operator Please were to come back with more of the same then they could seem dated. Instead, they’ve swapped their cutesy violin lines for an overload of synths and pop galore.Throughout the whole album, a trendy The Rapture-style disco bass bounces along, more prominent than in their early sound. Hazy synths are constant, too, often simply mirroring the vocal line. This leads to many of the tracks, including  'Logic' and 'Jealous', sounding similarly mundane. They’re not great disco tracks, nor are they great indie, so end up falling between the cracks somewhere, like many of The Automatic’s irritating fast-paced shouts. Sadly, Amandah Wilkinson’s vocals are less rough and ready than before, sounding like a wannabe popstar who has just discovered synthetic post-production.As the Nintendo synths and shabby dance-pop keep on, the album becomes unfortunately tedious. The lyrics are often lazy and repeated. Take 'Back And Forth', where “you’re not allowed to talk/ oh no” loops round and round, for example. At times, the muddle of synths is shaken up by randomly-sourced sounds, such as the vampy Lady Gaga guitars in 'Loops'. Like most of the album, what could be experimentation sounds more like uncertainty of direction and style. Perhaps, regrettably, Operator Please have had their time.