In the modern world, there are plenty of opportunities for artists to get a leg up where there previously wasn’t an opportunity.

One such group currently exploiting this new open playing field are Berkshire’s own Glamour For Better, who have topped the Indie/Electro charts on the infamous MySpace music charts, as well as making a considerable dent in the iTunes top 40 too (Darling You’re Nothing peaked at number 18).

Their musical style is also in keeping with the flourishing music scene, with elements of nu-rave, drum and bass, grime, indie, punk and electro all emerging at various junctures, leaving the listener guessing just where the next tune will ricochet into.

A particular element that stays identical throughout is Charlie Butterfield’s vocal stylings, which will either add icing to the cake of this particular mix, or have you switching off. To coin another current musical style, Butterfield’s voice leans very heavily toward the current emo/post-hardcore styled scene, which itself is going through a severe identity crisis.

You’re left with an extremely animated and exaggerated group of lads, who can put together a decent song, but also find themselves struggling under the weight of their own ideas and adventurous imaginations. ‘Too many cooks’ vehemently springs to mind.

By the climax of proceedings, the final four tracks (Ryan Vs Roundabout, I’ll Wait For You, Shape Cutting Catalyst and Old Men Love War Songs) will do little to inspire the casual listener, as links to groups like Foals and Hadouken! will be hard to shake – especially on dire Shape Cutting, which sounds more like Kenneth from Skins than a legitimate ‘grindie’ tune.

Taking things back to the top of the album, and things start well. Fans favourite, Darling… has a light dusting of Refused in its harder moments, as well as some eighties themed hip-hop beats too. Lyrics such as “We’re running down hallways and sleeping in doorways” set the tone for the album, with modern day realities often at the core.

Title track Architechs Of Discotech carries on the theme, with the line “I’ll Take My Poison With Coke” a notable credit on a song that shows where the future may lead for the group. With the addition of strings with the synths, it hints at ideas not totally above their station, but within grasp in the future.

The following double-header of the raving What’s Your Name? and the punkier, gothic-edged These Things Take Time are both worthy efforts too, with the former leaning toward Chikinki and Enter Shikari, whilst the latter relies on bit crushers and a greater emphasis on Aphex Twin.

It’s when this first third of the album is done with when your mind will be made up. Either the rest of the album will slowly merge into one long track, with only W.T.F!! and Tonight Screams Victim standing out.

With already noted contemporaries blazing the mainstream field wide open, time will tell if Glamour For Better can carry on the momentum. The early signs sound slightly promising, but their ability to be pigeon-holed in the most unlikeliest of scenarios leaves them with work to do.