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After two successful forays into fairly different styles of what most would refer to as “indie rock,” AIH has come back again with their third release, Places Like This. Following up last year’s We Died, They Remixed, a collection of remixes mostly from their second full length In Case We Die, PLT once again employs a new and distinct style throughout the record. Regrettably, this time around, they’ve fallen into that trap that’s eaten alive many a mildly experimental band: trendiness. Oftentimes excellent albums are made when bands expand their sound and experiment with a new ethos, but it’s got to be original and Places Like This does not have that touch.
PLT starts off great with cascading rockets and a groovy drum beat. Then your jaw drops (in the bad way) and this is what you think: ‘Was that Isaac Brock? When did he join AIH? I thought they lost members…’ I can think of no better characterization for PLT than electronic Modest Mouse. Cameron Bird, to his credit, is quite good at Brock style vocals but it doesn’t really fit with their music. Brock’s voice sounds much more powerful when backed by a rock band instead of synthesizers. While you’re still struglling to cope with Bird’s new vocals Heart it Races, the first single off the album, zips by and Hold Music breaks out of your speakers. Hidden in the middle of this tune is what could only be referred to as a spastic rant by Bird. Needless to say, it’s awkward. His voice, so suited for breathy melodies, does not work for brash shouts.
The standout track is definitely “Like It or Not” due to its compatibility with Bird’s new vocal style. It also has a good amount of horn and woodwinds on it, a trait sorely missed on most of the other tracks. This contributes to an overall feeling of disconnection. The band doesn’t seem like a band anymore. It feels like Bird played with some synths and instruments in his basement and threw together some songs. The point is that his move to Brooklyn away from the rest of the band is apparent in the music. You can hear the distance. “Like It or Not” also sports a much more transparent and delicate arrangement reminiscent of Fingers Crossed. It’s these few tracks in the middle that bring out the best of what AIH can do. The final track brings the album right back to the beginning with a raucous electro-jam with Bird spazing out vocals right and left. This is not to say the album’s terrible. It’s worth downloading for a listen or two. The trick is remembering that you’re listening to AIH rather than a Modest Mouse rarities collection. They’ve lost the clever edge they had with their deft arrangements that featured every piece in the band. But maybe that’s what they’re going for as Bird says in “Feather in a Baseball Cap” - ‘Clever isn’t where it’s at, cause dumb is back!’