Sub Pop Records
I’ve always liked Beach House – but at the same time I’ve kept my distance, an album or two has been just fine. They’re up to five now, and I get why a fan might wish to sit through them all but for me it’s more a case of stopping in now and again, noticing that not a whole heap as changed, but that what’s there is always refreshingly familiar rather than stale. So here’s Depression Cherry, the band’s latest and it’s the first attention I’ve paid the Baltimore dream-pop duo in a half decade or so, so of course I’m considering it a rather lovely return. You might not feel that way if you’ve stayed for every leg of the journey so far, you might also be far more enthused because you’re a nuance-spotter.
But I love that sun-kissed shimmer of songs-that-are-really-just-moods, of songs-that-just-hang; that said there’s something in the way Victoria Legrand frames a lyric up (as on Bluebird), that nearly-androgynous Cocteau Twins-like phrasing. And there’s also something pretty glorious in the softly-valedictorian moments when the waft turns, just slightly, toward churn, as on the majestic closer, Days of Candy or the Kim Gordon-meets-Matthew Sweet mid-album highlight, PPP.
There are a small handful of perfect moments on Depression Cherry, the Stereolab-like Space Song and opener Levitation, the rear view mirror dramatic pop of Beyond Love.
Frankly, across 34 minutes this does everything it should – this places Beach House back in the good books. I’m sure to their fans they never left. I’d hope to anyone hearing the name but not familiar with the music this is a decent entry-point. You could do a lot worse. And so could they. Presumably.