Le ConcordeBy admin • Nov 4th, 2010 • Category: By Matthew Colwell, Featured Review 2, Reviews
Le Grande Magistry
As the synth-pop child of multi-instrumentalist Stephen Becker, Le Concorde rests nicely on the limbs of Owl City, The Postal Service, and the entire ‘80s electronic scene. A dance worthy indie-pop effort with some nice lo-fi production, Becker’s newest creation, House, brings a newfound sense of production with a heavy dose of radio-ready musicianship.
Opening and closing with different versions of “The Movement of Cherry Blossom Shadows,” these reprises give the two sides of House. The opening version has a more alt. rock influence and a heavier vocal styling, while the latter extends into the eight-minute mark and encompasses large electronic dabbling and slower tempos. Following the opener is a real banger, “Who’s Ever Gonna Feel Sorry For Us.” It has a catchy, gruff chorus with a lot of power behind the vocals, and the synth is just as rough around the edges with a danceable beat. It could have leaped out of a ‘80s romantic comedy any day and landed right onto this record.
Showcasing a full spectrum, songs like “Kisses With Comet Tails” fill the slower, ballad-like quota, and “Sick As Your Secrets” soars a little more on a mild tempo and driving musicianship. Each song has its place, and are all fun, interesting takes on a currently mediocre scene of music. While it’s a dance party, there’s more to it in the music and lyrics; it feels alive. The only letdown is in relation to Le Concorde’s back catalog. The sparkling production is nice and a bit of a change of pace, but it’s a bit jarring when reflecting on Le Concorde’s previous, more organic material.
As heads continue to bob and bodies sway, synth pop will need reinvention, or at least a new spice added to the mix. Thankfully, Le Concorde is there to act this part out; at least a little bit. House successfully makes toes tap and doesn’t completely rip off current forerunners like Owl City. It deserves more spins than it’s getting in most households. –MATTHEW COLWELL