Los Angeles – Over the last 10 years or so, Beach House has grown more and more sonically ambitious and ornate on each full length release. From the band’s haunting, stripped-down self-titled debut to 2012’s lush, ultra-melodic Bloom, every album has taken a step towards adding layers to the distinct Beach House sound. Instead of following that trajectory, Depression Cherry (Sub Pop) is a deliberate attempt by the Baltimore duo to return to a simpler dynamic.
That being said, Depression Cherry is going to find itself on a lot of the “2015’s best albums” lists. The band does not feebly attempt to recreate the simple drum/keyboards/guitar/vocals-only sound of Beach House; instead, Victoria LeGrand and Alex Scally have created a well-balanced record that pays tribute to their past while remaining relevant to their recent sonic evolutions. This being the band’s fifth full-length album, it seems like a wise choice to avoid the easy monotony so many bands fall into as they find a sweet spot in their formula. The Baltimore duo (ever so slightly) pushes their and their fans’ comfort zones, coming up with one of their best releases to date.
First single “Sparks” is a nice break from the band’s traditional singles choices. Most of the Beach House songs that make their way onto college radio and NPR playlists tend to consist of two strong elements: LeGrand’s instantly recognizable vocals and Scally’s sliding, hypnotically repetitious leads that stick to the high end of the fret board. This first single from Depression Cherry instead grinds along with a semi-dissonant keyboard lead and a shoegaze-driven atmosphere that recalls some of My Bloody Valentine’s more laid-back tunes.
As the band has mentioned in interviews, Depression Cherry is their attempt to return to the simpler, sparser dream pop heard on their two Carpark Records releases. Despite that intention, it takes until the third track, “Space Song”, for listeners to get the first real indication of the band’s digging into the past. Mostly synthesizer and electronic drum driven, Scally’s guitar leads occasionally swoop in to give the song an added zest of melancholy. Elsewhere, “10:37” and “Bluebird” have similar qualities, taking a fresh look at the band’s original sound.
Of course, Beach House can’t help but write at least one ultra-melodic track in line with songs like “Zebra” and “Lazuli”. For Depression Cherry, that song falls right at the center of the album, dividing the more energetic first half with the down-tempo second half. “PPP” opens with Scally running through one of those guitar riffs he should put a trademark on. After the riff has cycled through one full time, LeGrand’s voice enters the mix; all the while, synthesized sounds slowly rise up in the background to fill out the mix. The cherry on top is spoken word segments at the beginning and the middle, which add to the song’s sense of drama.
It is always exciting to see a band that seemingly has run out of space to evolve continue to impress with their output. Some may say that Beach House peaked with 2010’s nearly impossible to top Zebra, but it is hard to argue with the results that the band’s subsequent releases produce. Fans of the band will find plenty to love with Depression Cherry, and music fans that (somehow) are still not aware of the group will find plenty of moments to hook them in.
Beach House will be taking Depression Cherry on the road with a big tour in 2015. Currently playing shows in the Midwest and along the East Coast, they will make stops in the southern United States before heading to Europe. That portion of the tour sees the band visiting Great Britain, continental Europe, and Scandinavia.
Check out the Beach House Facebook page for more information on tickets.
Beach House Photo Credit: Shawn Brackbill
Matt Matasci
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