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Musica alternativa e indie - Uscito il 28 agosto 2015 | Bella Union

Hi-Res Riconoscimenti 4F de Télérama - Pitchfork: Best New Music
It's easy for artists in any medium to be seduced into believing their latest project must be more elaborate than what came before. On Depression Cherry, however, Beach House reject the notion that bigger is inherently better. Where Bloom took their crystalline dream pop to lavish heights, these songs revisit the simpler approach of Beach House and Devotion. While it's a bold choice, the results are delicate: even by Alex Scally and Victoria Legrand's standards, these songs are remarkably poignant and insular. Throughout the album, the duo conjures a feeling of intimacy surrounded by vastness, with "Space Song"'s arpeggiated keyboards suggesting stars shooting through an endless sky. Beach House's return to the unabashedly artificial sound of their early albums is a potent reminder of how well they contrast with Legrand's lush, empathetic vocals; on "Bluebird," she sings "I would not ever try to capture you" over a busy rhythm that calls attention to how clunky and mechanical it is. Her ability to sound at once comforting and heartbreaking on the bookends "Levitation" and "Days of Candy" speaks to the sensuous nature of Depression Cherry's, and Beach House's, melancholy; it's like a flavor or color that can be savored, even in its simplest incarnations. Scally and Legrand reintroduce some of Bloom's fullness on "PPP" -- which almost sounds like it was produced by Phil Spector compared to the rest of the album -- and "Sparks," which with its dense keyboards and cooing vocal harmonies could be a collaboration between Stereolab and My Bloody Valentine. Elsewhere, the influence of the duo's more recent work is more subtle, revealing itself in the sophisticated minimalism of songs such as "10:37." While it may not be as immediately inviting as Bloom or Teen Dream, Depression Cherry is more than just an admirable exercise in challenging conventional notions of success. It's a grower that demands and rewards close listening -- especially under headphones, where it unfolds like a spell cast just for the listener. © Heather Phares /TiVo
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Riconoscimenti Pitchfork: Best New Music
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Musica alternativa e indie - Uscito il 11 maggio 2018 | Bella Union

Hi-Res Riconoscimenti Pitchfork: Best New Music
Dream pop e shoegaze light, l’universo dei Beach House resterà anche molto codificato, ma è difficile stufarsi della voce di Victoria Legrand e delle melodie confezionate da Alex Scally. Anche perché il tandem non sembra affatto arrancare in quanto a pubblicazioni. Dopo due album in meno di un anno (Depression Cherry e Thank Your Lucky Stars nel 2015) seguiti da una compilation di vecchie perle ripescate qua e là che poteva somigliare a un’uscita di scena (B-Sides and Rarities nel 2017), i Beach House mostrano che la loro ispirazione è tutto fuorché esaurita. Senza rivoluzionare i codici della band, questo 7 s’impegna anzi a magnificarli, a dimostrare che scrivere in eterno la stessa canzone e suscitare sempre la stessa emozione è possibile. Una sensazione alquanto flagrante su un brano come Dive in cui la magia Beach House è ancora una volta all’opera. © Max Dembo/Qobuz
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It's a small, but significant, detail that live drums are the first thing listeners hear on Thank Your Lucky Stars. Though "Majorette" soon unfolds into the swirling, twinkling, snow-globe beauty for which Beach House are well-known -- some might say too well-known -- the moment captures the tiny yet notable ways Victoria Legrand and Alex Scally tinker with their sound on their second release of 2015. Arriving just two months after Depression Cherry, Thank Your Lucky Stars was recorded at the same time as that album; while it's tempting to say the duo should've combined the best songs from each into one work -- or released them as a double album -- their vibes are distinct. Stars' songs were written after Depression Cherry, and express the simplicity Beach House craved after the massive-sounding Bloom in a very different way. Where its predecessor floated by in a beautiful blur that made the most of Scally and Legrand's impressionistic powers, Thank Your Lucky Stars is a collection of shorter, distinct songs rather than a mood piece. Even the old saying the duo chose for the album title hints that this is a less abstract affair than Depression Cherry. There's a lot of heart in these songs, particularly in Legrand's vocals: on the aptly named "Rough Song," she's raw and unfettered, a sharp contrast to Depression Cherry's ethereal purity. The focus on her voice also spotlights the album's lyrics in a way unique for Beach House. On "She's So Lovely," Legrand traces a relationship's decay with small shifts, the hook "All I have to do/Is everything for you" souring into "All I have to do/Is stay away from you." Interestingly, Thank Your Lucky Stars' more down-to-earth approach allows the duo to cover more musical ground. "All Your Yeahs" is one of Beach House's most driven songs, charting a more purposeful course from brooding to joyous than they've taken in the past, while "One Thing"'s Velvet Underground-like thump is surprisingly heavy. Elsewhere, Scally and Legrand get (relatively) more eclectic: "Common Girl" sounds like Nico fronting Broadcast, while "The Traveller" borrows some of Goldfrapp's gliding elegance. Nevertheless, the album's most beautiful moments are unmistakably Beach House. "Elegy to the Void" -- which might be the most Beach House-esque song title ever -- is elevated by a stratospheric guitar solo. Later, the gorgeous finale "Somewhere Tonight" proves Legrand and Scally are among the few 21st century musicians capable of updating '50s slow dance swoon without a hint of schmaltz or irony. In its own way, Thank Your Lucky Stars is just as rewarding as Depression Cherry, and arguably more immediate. Instead of releasing another mammoth effort like Bloom, they've delivered two smaller-scale triumphs that can be appreciated separately or together. © Heather Phares /TiVo
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