During the evolution from an experimental, eight-piece studio
project into a critically acclaimed live ensemble, one would expect
a band to go through a great deal of changes. For Architecture in
Helsinki, however, some things will always stay the same.
“We got a chance to tour with one of our heroes, David
Byrne, and like true music geeks, we stole set lists after the show
was over,” lead singer Cameron Bird said. “If anything,
it shows that we’ve evolved as a band, in that we now steal
set lists from backstage instead of out front.”
The Australian group will perform at Bruin Plaza at noon on
Monday, Oct. 17.
Architecture in Helsinki was officially formed in 2000 in
Melbourne, Australia, and released its first album, “Fingers
Crossed,” in 2004 in the United States. This March, the band
released its follow-up, “In Case We Die,” to broad
critical praise, with many listeners taking note of the
band’s offbeat, saccharine-sweet music and themes.
The group has gained notoriety not just because of its music,
but also because of its unique logistics and chemistry. Unlike many
other bands, Architecture in Helsinki does not boast a traditional
three-, four-, or even five-member lineup, instead utilizing eight
members playing a variety of instruments. Among these are
recorders, synthesizers, trombones, trumpets and even a
glockenspiel, in addition to the more traditional guitars.
“Not to mention whatever manner of percussion we can dig
up,” Bird added.
As one would expect, the band’s large size can sometimes
be problematic, one example being that when the group stops at a
gas station, it has to wait 40 minutes for eight separate people to
buy chips in the mini-mart. However, Bird feels that in the end,
having a large lineup is beneficial to the band’s
songwriting.
“Having so many people in the band helps to make the music
that much more complex, because people are coming up with so many
different ideas and have varying ability levels,” Bird
said.
One of the main points of controversy that critics and listeners
alike have argued about is the group’s childlike, sugary pop
style. Despite the overwhelming praise for “In Case We
Die,” some publications, most notably Spin Magazine, have
decided that this aspect of the band’s music is a negative
quality.
“It’s funny because people have a lot of issues
dealing with notions like childhood. Look at when critics make
lists of the best albums of all time, for instance,” Bird
said. “A lot of the albums on those lists are jaded, cynical
and angst-ridden. It’s odd that you really seem to get
criticized for treading on positive themes.”
Regardless of criticism, the band has both tightened up its live
show and learned more about its ability to function as a cohesive
live group with constant touring.
“Every time we’ve toured in the States, we’ve
gotten marginally better. Plus, since we’re in a position
where we have little hype or a promotional budget … we’re
free to just go out, play and see a natural evolution occur,”
Bird said.
He also notes that in spite of the improvement in technical
expertise, the band still strives to keep the quirky spontaneity
for which it is known.
As the tour in support of “In Case We Die”
continues, Bird is excited to come to UCLA and play in an outdoor
environment.
“Playing outdoors can be scary sometimes, though, if only
because people get to see you in daylight and see how unhealthy you
are,” Bird said, laughing.
Bird also views the outdoor show as a prime opportunity for
passersby to notice the band and listen to its music in an open
environment. And like any other band, attracting new fans is
something Architecture in Helsinki sets out to do every day.
“I would play a show with Avril Lavigne at the drop of a
hat, just because playing in front of a new audience (that is)
unfamiliar with our music is that exciting,” Bird said.