It hasn’t been the hardest thing to do, to fall for the music that Steven Becker makes as Le Concorde, the singles that have paved the way to this album, such as “Saint James” and “Corpus Christi”, echo with so much that made me a fan of a particular strain of 80’s music in my formative days.
There is a debate raging as to what represents “eighties music” the most succinctly (as if a decade can also be a genre). The cool kids will argue that it is all that leather-clad post-punkery that defines the times, and the pop pickers will promote cheesy throwaway chart hits. The reality is that the best music of that much misunderstood era sounded a lot like what you find here. At least, that’s my reality. I’m not saying that Second Mansions is stealing from the past, but it certainly feels like a continuation of a particular thread of the story of music.
“Morning By Morning” is a perfect example of what I’m talking about, it is adorned with those shimmering synths and sophisticated sounds that the best pop of that time was about, but it also feels as if it draws a line in the sand and says, sure I know where this sound comes from, but this music is all about where it goes next, as all music should.
“Memorare” wanders between brilliant balladry and more groovesome chart-friendly urges, “Therese of Lisieux” is a rich and rewarding slice of synth-driven pop, and reveals the religious/historical inspirations and catholic mysticism that run through the album, and “Thirty-Four Trillion Watts” is the most joyous and jaunty, anthemic and perky pop you will have heard in a long time. Pop music with real depth? Whatever next?
If you are old enough to remember those times, then you will probably love everything about the album. But younger listeners will also realise that, given the state of the current popscape, Second Mansions is simultaneously a reminder of how clever pop used to be, a benchmark set and standard to aim for, and the most exciting collection of pop songs you will have heard in a long time.
