Dan Cruickshank travels across the world, celebrating different types of architecture and showing how our buildings reveal our aspirations, our ingenuity and our beliefs. In each programme, buildings from all over the world are dramatically juxtaposed, revealing unexpected connections between very different types of architecture.
Assembled from a mountain of bargain-bin samples, Belgian-Australian maverick Gotye's second solo album, Like Drawing Blood, is an impressively eclectic cut-and-paste affair that suggests "the next Sting/Peter Gabriel" labels are doing him a slight disservice. Produced by Franc Tetaz (Architecture in Helsinki), the follow-up to 2003's Boardface undeniably still tips its cap to the two juggernauts of '80s world-pop, particularly on the reverb-drenched dub of "Puzzle with a Piece Missing" and the melodic AOR of "Night Drive," the latter of which ends in a clattering Phil Collins-style drum solo. But Gotye's musical brain is far too hyperactive and intelligent to simply focus his efforts on one particular type of pastiche, and elsewhere, he makes convincing forays into foot-stomping Northern soul on "Learnalilgivinanlovin," claustrophobic trip-hop on the Harry Belafonte-sampling "Hearts a Mess," and lolloping electro-funk of "Thanks for Your Time" (perhaps the best song to be inspired by the frustrations of call centers), while also venturing onto the postwar dancefloor with the instrumental Gallic waltz of "Seven Hours with a Backseat Driver" and the strutting tango of "Coming Back".