The current vogue for embracing blustery stadium rock and giving its mullet a fond tousle is becoming just a bit worrying. A late eighties hangover has gripped the likes of Coldplay and Irish acts Royseven and recent arrivals The Plea but it’s really seized Melbourne act The Temper Trap in its death grip. Three years ago they scored a massive hit with their shimmering anthem Sweet Disposition, a very good song that made the most of singer Dougy Mandagi’s spine-tingling falsetto. The fact that Sweet Disposition went on to be used to flog Chrysler cars and Diet Coke may have compromised The Temper Trap's purer motives but unsurprisingly on this second album, they're emboldened by success and on a headlong sprint to the glory of arena rock and its attendant pitfalls of empty bombast and vapid lyrics. There is much talk of “silhouettes in dust clouds” and "living miracles" but its London’s Burning, a Clash-style knockoff about last summer’s riots that really has to be heard to be disbelieved: “Who is to blame when the children go insane dancing on their broken dreams?” beseeches Mandagi as samples of British PM David Cameron crackle away in the background. It’s enough to make The Enemy and Hard-Fi sound like strident purveyors of harsh and gritty realism. Shame because the likes of Trembling Hands dials down the preaching and features some streamlined work from talented guitarist Lorenzo Sillitto while the band reveal their pop smarts on Where Do We Go From Here, a great tune which sounds uncannily like Erasure.

Alan Corr