B i o g r a p h y
 (by Official Site)

It all began at the end of the '90s in a small Australian country town with a teen funk-grunge band called The Pixel Mittens, which featured core Architecture In Helsinki members and longtime friends Cameron Bird, Jamie Mildren and Sam Perry. The three pals outgrew the limitations of rural living and moved to Melbourne to have some fun. After the high school band burnt out, flamboyant lead singer Cameron, who was often seen on stage riding exercise bikes and conducting audience workout sessions, needed to branch out; Primus and Led Zeppelin were no longer doing it for him on a spiritual level. It was then he met a folkie who diverted his taste and inspired him to learn how to play guitar while she was out at work in the evenings.

Rather than figuring out how to play '70s AM easy listening hits, Cameron opted to create his own songs from the outset, fashioning heartfelt li'l dark folk jams with an emphasis on the 'dark'. Within the year he had rounded up a group of friends to try and play the songs in concert. The original line-up played one or two half-hearted shows in small Melbourne dives before going into semi-hibernation, playing only the occasional gig thereafter. The band solidified in 2000 when Bird bought his first electric guitar. It was at this point, while studying photography at art school, that he met James Cecil in a late-night video editing suite. The two instantly had a musical chemistry, and within a couple of months Cecil had joined the band on drums. Around the same time Bird met Kellie Sutherland at a party in North Fitzroy and asked her to play clarinet on some of the band's new love songs. Architecture In Helsinki finally had some stability and with this new lineup, they set about performing their own take on the 90s pop atmospherics scene, getting all shimmery and longwinded.

At this point, the band set out to build the first incarnation of James' recording studio, Supermelodyworld, in a massive church hall on Melbourne's Southeast side. It was here that the recording of the AIH's debut, Fingers Crossed, began. The band was on a tight schedule with Bird about to leave the country for an extended holiday in the US. The aim was to make the whole album in a few weeks. It never did happen. While songs such as "Like a Call," "To and Fro" and "Where You've Been Hiding," made it through, the rest of the intended album vanished into thin air.

Some would say it was fate, because Cameron's trip to the USA saw him falling in love with the Pacific Northwest and forming obsessions with Portland Oregon, post-acid Beach Boys, Wu Tang Clan, The Magnetic Fields and Mexican food. That, coupled with a whole bunch of new friends, sculpted Fingers Crossed into the large technicolor beast that it is. About 3/4 of the album was written by Cameron on a pump organ and a busted-up guitar in his parent's living room in six days after his return to Australia -- songs of longing, pining, foreign cities, excitement and ghosts. The music was gonna be like a first kiss: messy, passionate, exciting and floaty. And the means was... by any means possible.

When Cameron brought these new songs to band rehearsal, it marked a huge change for the group. Gone were the days of drawn-out eight-minute atmospheric wig-outs; the new AIH was all about sub-2.5 minute pop songs, sharp and catchy, with no time to look at your shoes. The live show morphed and the recording safari began. It was at art school yet again that the connection with the hottest wonky session brass in Melbourne, The Rhinestone Horns, was made. They were the logical next step for the fleshing out and development of the AIH ensemble. Tara Shackell, Isobel Knowles and Gus Franklin all brought their chops to the recording, coloring it in, filling in the gaps and bringing the record and AIH's subsequent shows to life. And finally, the lineup was complete. Like a giant Voltron robot uniting at the sunset.

It was after this long, convoluted journey, the band finally let go of its precious, first born, Fingers Crossed, after near two years of work, shifting personnel and studios galore. And AIH had finally settled upon what was to be the perfect lineup, an amalgamation of well-schooled and self taught, loose and tight, happy and sad, city kids and country folk. A group of people with influences and tastes spanning the last 183 years of pop music, coupled with the isolation of Australia.

It was always going to make for something a little different.




Fingers Crossed
- 2003 -

One Heavy February ( Instrumental )
Souvenirs
Imaginary Ordinary
Scissor, Paper, Rock
To And Fro
Spring 2008 ( Instrumental )
The Owls Go
Fumble
Kindling
It's Almost A Trap
Like A Call
Where You've Been Hiding
City Calm Down
Vanishing
 

In case we die
- 2005 -

Neverevereverdid
It'5!
Tiny paintings
Wishbone
Maybe you can owe me
Do the whirlwind
In case we die (parts 1-4)
The cemetery
Frenchy, i'm faking
Need to shout
Rendezvous - Potrero hill ( Instrumental )
What's in store?
 

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Fingers Crossed

Souvenirs

With an envelope
We'll enter buildings we might touch
I've got souvenirs but yesterday can't mean too much
Have we missed an opportunity
Have we missed an opportunity

Whispers Chinese leaves a message, leaves a metaphor
For what once was gold and once was rich and now is poor
Have we missed an opportunity
And the trees lean to lend
Can I fold you in fourteen ways to depend not defend

Imaginary Ordinary

We're in a restless way when the fireflies come
And they light the light where there once was none
I won't think about next week
I won't think until tomorrow
Just a sight for sore eyes
Disguised as a fly

And not a single soul in these woods
Ever saw a jaw drop so low as is mine at the moment
Not a single soul in these woods
Ever saw a jaw drop so low as is mine at the moment

Imaginary Ordinary
It's you that I belong with
Imaginary Ordinary
It's you that I belong with

Imaginary Ordinary
It's you that I belong with
Imaginary Ordinary
It's you that I belong with

Scissor, Paper, Rock

If you're seeking repair
For figure eights in the ice in your stare
Seven stories we're climbing tonight
So if you're angry about the fact that it's red
I'll surrender
I'll change it to white

Sneaking looks at you sleeping around
At you, grass stained and drunk on the ground

So we're taking you down with the scissor, paper, rock again
Scissor, paper, rock again
So we're taking you down with the scissor, paper, rock again
Scissor, paper, rock again

To And Fro

To and fro from yours to Cecil Street
You wore the same shirt that you wore last week
Should I shake your hand or kiss your cheek
Convince you it's not lust, it's chemistry

The Owls Go

Don't hide the treasures you've found in a hole in the ground
How 'bout the tree back your house where the owls go
Or in between the attic and the basement
Somewhere where it's not dark, dark, dark, dark

Attic in a basement with a knife serrated, I'll protect you
Attic in a basement with a knife serrated, I'll protect you

Don't hide the pleasures you've found in your rolling around
Where all the leaves have been swept and the flowers grow
And don't go finding a replacement
I promise I'll show you heart, heart, heart, heart

Finding replacement with a heart sedated, I'll forget you
Finding replacement with a heart sedated, I'll forget you

Finding replacement with a heart sedated, I'll forget you
Finding replacement with a heart sedated, I'll forget you

And you won't make a sound or be nervous around piles of pictures
So old that that it feels like it is ending

Four, three, two, one
That's right

Attic in a basement with a knife serrated, I'll protect you
Attic in a basement with a knife serrated, I'll protect you

And you shout out loud
And you're bursting with pride
'Cause they don't let you talk
And your heart is finally mending

It's not too late now to change your mind
The grass gets greener when you get to the finish line

An attic in a basement
An attic in a basement
An attic in a basement
An attic in a basement
An attic in a basement
An attic in a basement

And you won't make a sound
Or be nervous around
Piles of pictures
So old that it feels
Like it is ending around
It shouldn't feel like it is ending

Fumble

Found a flaw in the ending of a book that I've read twice
I set her straight, it's not based on your life

There's tension in this room
We'll have butterflies soon
Fumbling 'round in the dark with a flashlight

No need to be uncalm we'll
Leave it by the phone
A message you can swallow
A letter to sign
No need to be alarmed we'll
Leave this all alone
And all the guilt will follow
You in a line

There's tension in this room
We'll have butterflies soon
Fumbling 'round in the dark with a flashlight

Kindling

You won't count to seven
It's usually 'til ten
To hell with Sydney girls
You're much better than them

On my mattress I've been drawing a line
Where I'll shut my eyes and where you should lie
You should lie
If you should lie

I'll be a lighter of fires
You be the fighter of fires
I'll be the lighter of fires
You be the fighter of fires

Should I choose to stay here now all depends
On buildings, buses, streets, trees, rain and friends

On my mattress I've been drawing a line
Where I'll shut my eyes and where you should lie
You should lie
If you should lie

I'll be a lighter of fires
You'll be a fighter of fires
I'll be a lighter of fires
You be a fighter of fires

It's Almost A Trap

Steal all the chandeliers down your street
And call it romance
Stop kissing all the neighbours that your brother meets
Don't promise it's chance

And I've been saying later lately
So I'll colour a map
I'll lead you to the mountains we'll meet
It's almost a trap

Like A Call

All the cars down the bottom, windmill chasing
Calling police so, so we're placing
Weight on minds
Red sports car Northwest dated, counting the sleeps
I'm counting, waiting
Stalled inside

There's no tires to save our skins
They're bald and old
Their advice won't change our plans

Through an old telescope for close up faces
You're cornering the fire it works in your favor televized
Like the all night long at three A.M.
Feeling you get in your legs when you're dancing on the ceiling
Friends of mine

And you change the beat disguised
Like a call to realize

You just made a pass in that reflection
you're fixing your hair or asking questions
You decide
Turn it around, the place is a fountain youth, you're squealing
Offering advice that sounds appealing
Nervous fun

'Cept the cheating's in your blood
And the hardest word is love

Let's not starve here today, none of that behavior
- I'm not revealing, unless your feelings are long term -
Eating like a princess, I'm gonna save you
Stay at mine
And we're carving up the courses we're not playing
- I'm not revealing, unless your feelings are long term -
Don't want to hear the swear words you're spraying undermined

I'm not revealing unless your feelings are long term
I'm not revealing unless your feelings are long term
I'm not revealing unless your feelings are long term

It's like a, it's like a call
It's like a, it's like a call
It's like a, it's like a call

Where You've Been Hiding

Stuck at your front gate
Wth some pictures I just want to hand you

Almost made the door knock twice
Broke down on your veranda

Turn the dry concrete
Into wet concrete

I can’t find you anywhere
Find you find you find you find you
I can’t find you anywhere
Pictures pictures pictures pictures
So I wrote you a letter
In capital letters
Saying all that I care for
All that i care for is
Where you’ve been hiding

Where you’ve been hiding
Which way the habits collect
Neatly upon your stairs
Which way we’ll be end them both discreetly
Leaving ‘em for dead
When I find, when you find, when we find, when I’ve found
Where you’ve been hiding

Where you’ve been hiding

City Calm Down

Drinking stolen gin from the rich people's bar next door
And awkwardly
I'm leaning on the shoulder of the cousin who you choose to ignore
And she says won't you calm down
City city won't you calm down
We're never gonna get to the bottom while there's traffic around
Passed a little lonely cleanse
If we play our cards right we can be more than friends, still

Oh so s-u-d-d-e-nly
So suddenly
Ways of calculating, ways of catapulting you and me
Out of this town
City city won't you calm down
They'll never know we're in here if we don't make a sound
Faster we'll divide all the sense
Into tiny parcels are you hoping it's tense, girl

Vanishing

Is this a fling
It’s seven days and you’re already vanishing

Is this a fling
It’s seven days and you’re already vanishing...

In case we die

Neverevereverdid

Just yesterday
I was walking on the moon with your stalker
And we talked about love and all the battles we'd won

A permanent malaise prevented us from hiding our fortunes
So we left them bare for all the natives to see

One of two things we could've had but never did
One of two things we could've had but never did

Slender is the finger
Points towards the floor
Offers you an excuse
To be on all fours

One of two things we could've had but never did
One of two things we could've had but never did

It'5!

Stranger danger
Danger stranger
When you gonna follow through

The mistake you don't make
Or the rain cloud covers above your house
Steal the feelings
Don't focus on the flame girl

Have i failed to impress you?
Could've sworn that wine
And one and four made two,
But it's five!
It's five!

Can i ride with you
Until the sunset gets all red
And we'll chased by the moon

Hope the passion don't fade
Since you decided he's your spouse.
Wheeling, dealing, joking things will change girl

Have i failed to impress you
Could've sworn that wine
And one and four made two
But it's five
It is five

Tiny paintings

Tonight the neon answers flare
Occasionally we stop and stare past
Tiny paintings painted where
All the clouds were wrong

With killer stares and sideways frowns
In keeping with the universe all upside down
Twice, twice, twice
And broken legs and arms in slings
You cry secretly, but won't wear my diamond ring
Why, why, why

A billion cares, a thousand stings
We lie frequently
Choose the chapter where they start
Fights, fights fights

And millionaires have bought this town
And changed everything
I found you in a lost and found,
White, white, white

Wishbone

Cho-choking on a wishbone
In the firing line of lovers
Who will never slow down

And i won't let you steer
Comandere the atmosphere
Since you suggested running away
It's romantic

Hit the redial
Maybe we should sigh a while
Save our second wind for
Sentimental warm weather

Four forever
Two together
We'll play dead
We'll play dead
We'll play deadly

Should we make believe you remember me
From a holiday delayed by a storm
Should we chance our arms alarms
Set to high noon until the shiver in the river is gone

Hoping you might whistle
Get all dizzy 'cause i found the reason why you're around,
If i won't stay sincere talk you through the tangles

Can you chase me till you my feet touch the ground
And go dancing
Tambourin style walking in a single file
You whisper half thoughts to me

Should we make believe you remember me
From a holiday delayed by a storm
Should we chance our arms alarms
Set to high noon until the shiver in the river is gone

Maybe you can owe me

Maybe you can owe me
Or should we wait and see
'Cause i've been saving up for something we need
As long as you're open to the possibility, yeah

Surely, there's a story
In counting all the minutes 'til july the first
But you counted all the seconds and it made you feel worse
I don't wanna be here
You just wanna be there
But it's awful complicated and you're warning me to beware
Beware

And honey, there's no hurry,
I know it's overdue there's a key to the door
To the room where i'm staying
You can sleep on the floor
Half way through the night can we talk and see
'Cause there's no way that i'll sleep when you're near me
There's no way that i'll sleep when you're near me
There's no way that i'll sleep when you're near me
There's no way that i'll sleep when you're near me
There's no way that i'll sleep when you're near me

Do the whirlwind

She said you'd given up
Your folks told me you should be left alone
On a mountain top
Knocking the aeroplanes down with stones
Do the whirlwind and carry the hope
That stings all night long
Don't abandom him
'Cause he quivers when he hears your song

Believe me, it's safe to see
At least be confused about right and wrong
Plan to settle down
Over the moon under the sun
Do the whirlwind and shotgun the seat that beats
Hanging on to the one you love
To keep keepin', sleepin', dreamin' on

Folks given up under the quivers and lines
You do the whirlwind
Don't abandon
Get a handle of yourself, son

Folks given up under the quivers and lines
You do the whirlwind
Don't abandon
Get a handle of yourself, son...

In case we die (parts 1-4)

I've got problems
I'm gonna use them
I'm gonna keep them from you 'til you cry

I've got machine guns
I never shoot them
I only borrowed them in case we die

Late nights, play fights
I'm freezing and you're leaving me here
Blue and red up i'm fed
You're upset almost dead, tongue twisted

Thiry-five nightmares and ninety-four days
Since i got near you and your anxious ways
Hey darling, let's steal it
I'm certain you're sure
Spell it to me love

And as we planned there's fireworks, stage right
They're swallowing the brains of all in sight
It's one a.m. that's the evening your time
We're counting sheep
Sell it to me, yell it to me, love!

Leave it while it still smolders
So i'll have to say i told you
I carved our names in a tree there
I meant the letters to be bolder, bolder
Around the angles there's a race
Where silver never gets golder
And baby when we get older
We don't have to get colder

The cemetery

You don't wanna be
I don't wanna see
Baby, get your feet on the floor
Shut the door
Count to four
There's ice
On your shoulders
I don't wanna fall face down in the flood
Of the tears from the years that we loved and messed up
Let's get older.

Remember the foggy window
Remember lightning and wet clothes
Remember the house we used to live near the cemetery
The cemetery

There's a shadow on the wall and it's nine feet tall
And our hearts won't sink 'cause it's obviously nothing at all
And in a roundabout way we can disappear towards the coast
The most i have to say isn't really that revealing at all

Everyone you forgot
Everything you could need
Everybody's gonna make it to the cemetery
There's a fab
There's a yick
There's a jenny
There's a karen
There's a paul
There's a jack
There's a denny

Everyone you forgot
Everything that you need
Everybody's gonna make it to the cemetery
There's a ross
There's a neil
There's a lenny
There's an aaron
There's a saul
There's a trip
There's benny

Whoah, whoah, whoah, whoah,
Way oh, way oh
Whoah, whoah, whoah, whoah,
Way oh, way oh
Whoah, whoah, whoah, whoah,
Way oh, way oh
Do you remember

Whoah, whoah, whoah, whoah,
Way oh, way oh
Whoah, whoah, whoah, whoah,
Way oh, way oh
Whoah, whoah, whoah, whoah,
Way oh, way oh
Do you remember

Remember the foggy window
Remember lightning and wet clothes
Remember the house we used to live near the cemetery
The cemetery

There's a shadow on the wall and it's nine feet tall
And our hearts won't sink 'cause it's obviously nothing at all
And in a roundabout way we can disappear towards the coast
The most i have to say isn't really that revealing at all

Frenchy, i'm faking

Frenchy, i'm faking
Been longing to stir you up
Changing looks slightly like back in the nineties
Far and away whistle delayed delights

The prospect of lightning was ever so frightening
I said your kisses are nice
But i'm looking for hills to roll
Down with abandon and no understanding

I borrowed your suitcase
And filled it with pearls and gold
You let me down lightly
I killed you politely

Need to shout

There's a sword in your side
That you'll ignore until blood shows
And later on, when it's gone
When something's wrong
The violence grows and it's designed
To spy and try to poke your eyes
While laying low

Beneath the seven different reasons for satellites
Eleven different reasons for fists in fights
There's never been a reason for shouting when it's quiet
But no-ones ever listening

Seven different reasons for satellites
Eleven different reasons for fists in fights
There's never been a reason for shouting when it's quiet
But no-ones ever listening

When you need to shout
When you need to shout
When you need to shout
No-ones ever listening
When you need to shout
When you need to shout
When you need to shout
No-ones ever listening

And don't go dragging your name
Through the mud and the rain
When it dries i know some dust that wants to get in your eyes.

Put a stethoscope on
You'll notice the beat is gone
All that's left is hesitations from your previous life

Don't go dragging your name
Through the mud and the rain
When it dries i know some dust that wants to get in your eyes

Put a stethoscope on
You'll notice the beat is gone
All that's left is hesitations from your previous life

What's in store?

Carve your name into my arms
'Cause i long to feel your name blood red

Leave our love life at the door
What's in store?
We don't know just yet
And that is why when we get together
There's no need to be clever

Lightning struck at eleven same as last night
We talk deeper than weather
Baseball cap with a feather
Fire engine's here to quell the blaze in our life

Sidestep neighbours full of lust
Good times rust
And the runaway's best

And when the love detector finds a spark
It's before dark when we couldn't care a less
And that is why when we get together
There's no need to be clever

Lightning struck at eleven same as last night
We talk deeper than weather
Baseball cap with a feather
Fire engine's here to quell the blaze in our life

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