B-Sides and Rarities

Presentación del Álbum

Beach House fans were spoiled in the late 2010s: Not only did the band release Depression Cherry and Thank Your Lucky Stars within a year of each other, they followed it with an even deeper dive into their music with B-Sides and Rarities. Covering more than a decade's worth of songs, the collection underscores that while Beach House's music sounds fragile, it's also surprisingly resilient. Their albums range from charmingly lo-fi to ethereal perfection without diminishing any of their poignant beauty, and B-Sides and Rarities is nearly as consistent. The set is bookended by a pair of songs that are classic Beach House: The previously unreleased "Chariot" begins with glowing keyboards and a ticking drum machine that are instantly, reassuringly familiar, while the drifting "Wherever You Go" closes the album with a slow fade. In between, B-Sides and Rarities points out the similarities and differences in Beach House's music over the years, even if its tracks aren't in chronological order. "Rain in Numbers," a hushed, demo-quality song from 2005, proves once again that the interplay between Victoria Legrand and Alex Scally was magic from the start, while "Used to Be (2008 Single Version)" hints at the more polished approach they took on Teen Dream. Elsewhere, the Bloom outtake "Equal Mind" reflects that album's crystalline beauty, and the whispery ruminations of "Baseball Diamond" (the collection's other previously unreleased track) are lovely even if they're not quite up to the standard of the songs that appeared on Depression Cherry and Thank Your Lucky Stars. Many of B-Sides and Rarities' scattered gems come from 2009 and 2010, including standouts such as a remixed version of "White Moon" from their iTunes session EP and the aptly narcotic "10 Mile Stereo (Cough Syrup Remix)," which inflates the song's melancholy to vast proportions. Meanwhile, other Teen Dream-era outtakes like "Baby," a sardonic waltz about an overly confident lover, and the '70s sunshine pop-indebted "The Arrangement," serve as reminders that the band's rare glimpses of humor are a refreshing part of their music. A live version of "Norway" with a different bridge, and a lullaby cover of Queen's "Play the Game" are treats for super fans that round out a collection that's lovely in its own right, and in its own way, is just as representative of Beach House's music as a traditional best-of would be.
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