How much commercially accessible synthpop does the world need? Le Concorde raises that question from the word “go,” and House continues down the addictive synthpop stretch while not contributing anything, well, new.
Sure, sometimes, House makes for an enjoyable listen — but when those little electronic beats come in, and when autotuned vocals slip into the picture, it becomes increasingly more apparent that Le Concorde — or at least House — isn’t… special, but it sure thinks it is.
In a way, maybe Ben Gibbard is to be blame. When The Postal Service combined Gibbard’s sweet, evocative vocals with Jimmy Tamborello’s electronic nous, people went a bit mad. Give Up hit the popular mainstream and people were hooked, and with that taste for electronically inflected indie pop, people wanted more.
Seven years on, and Give Up can be seen as having made an indelible impact on indie music. Today, for better or worse, synthpop material has permeated commercial indie efforts, and it’s not uncommon to hear music that sounds vaguely similar — or, at times, eerily similar — on the usual major label outlets.
So, it’s within that context that House has found release. Le Concorde isn’t offering anything that’s not been heard before, and while the synth sounds are infective as ever, the whole thing stinks of unnecessary consumerism.
There’s nothing inherently wrong with music produced in a consumerist landscape — don’t mistake the term for invective at face value. Almost inevitably, though, consumeristic music production leads to the same old nonsense week-in, week-out. Le Concorde’s House is just more of that.
While I fully expect this music to resonate with somebody — emotional teenagers, I’m looking at you — I don’t expect any fervor. I don’t expect this synthpop tripe to capture the hearts of many. It’s just not good enough.