Posts Tagged ‘Beach House’

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They say no one listens to albums anymore,  it’s important to expand that life cycle in the name of content. A few weeks back Johnny Marr had unveiled plans to slowly rollout his new LP in EP-sized doses, and now Beach House are doing the same, releasing new album “Once Twice Melody” on February 18th, but not before a string of four digital chapters that begins today (November 10th) with four new songs, including the title track and the wildly magical “Superstar.”

After four years in the wilderness, this week saw the return of one of indie music’s most intriguing bands, Beach House. The duo of Victoria Legrand and Alex Scally this week confirmed details of their self-produced new album, “Once Twice Melody“, which will be released in February via Sub Pop, as well a slew of dates on both sides of the Atlantic.

Beach House formed seventeen years ago in 2004, when the newly graduated pair met on the music scene of Baltimore, Maryland. The pair began making music with almost deliberate limitations, using just an Organ, programmed drumbeats and slide-guitar to create a sound that wasn’t quite like anything I’d ever heard before. They stuck largely to those rules for both their 2016 self-titled debut and the 2008 follow-up Devotion, both released via Car Park Records.

While the band were already causing quite the buzz on internet messages boards (remember them!) at the time, their big break came in 2010, when they teamed up with both Sub Pop (US) and Bella Union (UK) for the release of their acclaimed album, “Teen Dream“. Although not exactly a chart sensation, the album took the band to a whole new level, impressing everyone from Pitchfork to musical power-couple Jay-Z & Beyonce, who were spotted at their shows. The band would go on to far greater chart success with both 2012’s “Bloom” and 2015’s “Depression Cherry“, which went top twenty on both sides of the Atlantic. Although their more recent offerings haven’t quite hit those heights, they’ve continued to be both critical darlings, and a much loved fixture of the alternative scene.

What Beach House possess as a band is a certain alchemy, an ability to take the simplest musical ingredients and turn them into audio-gold. They went from lo-fi beginnings, early single Master Of None while utterly delightful does sound a bit like it was recorded underwater, through to the most luxuriant neo-psychedelic sounds of songs like Lazuli or Wild. Beach House have never been a band afraid of stretching their sound, yet they’ve also never been one that lose any element of who they are, or what makes them so uniquely brilliant.

A welcome return for Beach House is a reason to be very cheerful, and thankfully they feel just the same, as Alex recently told Rolling Stone, “I think I’m going to weep when I’m in a crowd of people, shoulder-to-shoulder, hearing loud sound coming from a stage”. A band who love music, every bit as much as you love them – now that’s something worth cherishing.

Acclaimed dream pop duo Beach House follow the excellent ‘7’ with their first double album, self-produced entirely by the band. Set for release almost four years after the psychedelic-leaning ‘7’, ‘Once Twice Melody’ hears Alex Scally and Victoria Legrand bringing in a live string section. We haven’t been given too much info on the press release, bar there’s eighteen tracks within, and Alan Moulder and Dave Fridmann are among those who have mixed it. Given it’s a double, we reckon there’s going to be plenty of their most adventurous sounds, trialling of new genres, and influences we’ve never heard in their music before.

On 2CD, 2LP, and a limited box set ft. a pair of gold/clear records, white faux leather with gold foil details, a 32-page booklet, and two pull-out posters. An 18 song double album and we are releasing it in 4 Chapters over the next 4 months. The first chapter hit earlier today at midnight, and the rest of “Once Twice Melody‘s” 18 tracks will be released monthly 

As mentioned, Beach House will be sharing songs from their upcoming new album “Once Twice Melody” in monthly “chapters.” The first chapter has just dropped with the album’s opening four songs and you can watch the animated music videos for them below.

Things begin with the stunning title track that mixes low-fi electronics with baroque touches and a stirring string section. You can hear echos of Broadcast, Stereolab and Spacemen 3 (whose Sonic Boom produced their last album, 7). The hand-drawn animated lyric video, directed by Annapurna Kumar, is great too.

From there, it’s the pulsing, kaleidoscopic “Superstar” (video by Nicholas Law), the neon dread of “Pink Funeral” (full of strings right out of a horror film and a video by Scott Kiernan), and the melting arpeggiations of “Through Me” (with a video by San Charoenchai). The visuals for all four song are fantastic, very different, but majorly psychedelic.

Once Twice Melody” is out February 18th via Sub Pop Records. You can preorder it on Gold and Silver edition vinyl and cassette; “Depression Cherry” also just got reissued on vinyl. Grab that along with the new album and others on cassette, and black and colour vinyl.

This latest effort from Beach House is the Baltimore dream-pop duo’s eighth studio album, and follows 2018’s “7″. It’s the first Beach House album to be produced entirely by themselves, and was recorded at Pachyderm studio in Cannon Falls, Minnesota; United Studio in Los Angeles; and Apple Orchard Studios in Baltimore. It was mixed by Alan Moulder with additional mixing by Caesar Edmunds, Trevor Spencer, and Dave Fridmann.

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If listening to Beach House’s Teen Dream felt like throwing open the shades and letting light into a dusty sunroom, Bloom revisited that same space at twilight, still opulent and opaque but with new scope. Alex Scally’s sparkling guitar leads and Victoria Legrand’s cyclone of a voice are instantly recognizable, but they’re distorted in mystery. Bloom is a seductive album that has little to do with romance or sexual gratification; its characters feel the tug of adventure, of sensations and phenomena they can’t quite describe.

And while Bloom boasts some of the most indelible melodies in Beach House’s discography—the twinkling “Lazuli,” the extended sigh of “Other People”—it’s most notable as a collection of remarkable sounds. “Myth” opens with that plonking bell, cracked like an egg after two stiff shakes; the drums on “Wild” foam and splash like the ocean around your ankles; “The Hours” clocks you with that sneering riff, a slow-motion punk moment. These little moments may not sound like much, but they end up feeling like dashes of spice added to a favourite home-cooked meal. There’s something unexpected lurking in every familiar bite.

Bloom is presented as an album which transcends the boundaries of genre, taste or subjectivity. It is described as a work of religious mission, opening the eyes of any who venture into it. But I’m indifferent to the quality of the music . Many claim that no indie or mainstream music released by the turn of the decade a few months ago was left untouched musically by Bloom’s dream pop, which epitomizes the sound of Beach House it’s synth arpeggios, fuzzy yet discreetly mixed guitars and ethereal, psychedelic vocals layered upon dreamy atmospheric sounds.

Dream pop is not just a genre. It’s an all-encompassing description: Bloom truly sounds like a dream feels. The duo behind the album created a psychedelic, half-conscious atmosphere shoegazed (a production style which tries to merge and effect the instruments until the different instruments on a mix are almost indistinguishable) to the point that the texture feels barely there, and yet impenetrable as a solid wall of sound; an enormous, slow moving, audible cloud. Unusually, the album benefits from each song sounding similar enough that each track fades into another seamlessly, which only adds to the unavoidable dream comparison: as a dream is an ambiguous, surreal montage of faded events and ideas, as is Bloom.

The influence of this album is hard to deny. Just a few tracks in, the poppy, synth arpeggios which are ever present. Then the ethereal, contralto female vocals, The trippy, heavily reverberated instrumentation and vocals the jangly guitars on Wherever You Go.

On the other hand, there are certainly arguments suggesting that the influence of Bloom has been exaggerated. The album cover for Bloomits prime visual representation, is instantly evocative of that of the self-titled album by The XX, released in 2009, or Turn on the Bright Lightsby Interpol, released 2002.

So, did Beach House simply steal their sound and aesthetic? Of course not. For the most part, Beach House reinvented dream pop for a new generation, with adding a new, even more ethereal touch which has placed its hand on every indie pop or rock record released since. Late 2000s psych-pop may belong in the same category of music as Bloom,but it’s no coincidence that Beach House are immediately distinct from their contemporaries, no matter the similarities.

Image result for BEACH HOUSE - " Live at Kings Theatre Brooklyn "

Last August  in, 2018, Beach House performed a stunning, career-spanning set at Brooklyn’s historic Kings Theatre. It’s an immersive concert film from the evening. Performing music from their latest album 7 and stretching back through 2008’s DevotionVictoria Legrand and Alex Scally brought their moody and mysterious dream pop to life, backed by state-of-the-art visuals, in a venue as grand and majestic as their music. The film is a close visual journey from one of the decade’s defining indie bands.

As usual, Victoria Legrand, Alex Scally and the rest of their band played mostly in silhouette against dramatic lighting and projected visuals.  The band also played a set the previous night at United Palace in New York City.

The Setlists between the two NYC shows only varied by one song: United Palace got “Pay No Mind” from 7 while Kings Theatre got that album’s “Woo”, in addition to six other new ones including “Lemon Glow,” “Drunk in L.A.” and “Wild.” Their sets included older favorites like “Lazuli,” “Myth” and “Silver Soul.” Opening both shows were old friends and onetime Sub Pop labelmates Papercuts,

Beach House have announced new set of tour dates for the United States and Canada this August. Lets hope they will come to the UK later this year.

Beach House perform live at Kings Theatre in Brooklyn on August 23rd, 2018.

Setlist: 0:25 Levitation 6:06 Wild 10:49 Dark Spring 14:20 The Traveller 18:31 L’Inconnue 23:16 Lazuli 28:05 Drunk in LA 32:10 Myth 36:29 Elegy to the Void 42:54 Woo 47:19 Space Song 53:32 Wishes 58:15 Girl of the Year 1:02:13 Sparks 1:07:39 Lemon Glow 1:12:17 Home Again 1:16:50 Walk in the Park 1:22:19 Dive

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Beach House, 7

Victoria Legrand and Alex Scully of Beach House described a new kind of freedom in the making of their seventh album. It seems they felt an unwelcome pressure writing and recording in the past, whether that was the constraints of a set studio schedule, or concerns with how their experimentation would translate live. With some adjustments to the creative process, the duo were more liberated this time and the results are stellar. That’s not to suggest they re-invented their sound along the way; in fact, they have stayed true to their particular brand of dream-pop, but you can hear confident strides toward mastering their craft.

As a music fan reared on ’90s-era British indie-rock (Cocteau Twins, Ride, My Bloody Valentine), Beach House have always had an immediate gravitational pull. Peter Kember from Spacemen 3, central to that era in the U.K., took a turn producing this album, and you can hear his fingerprints all over it. “Dive” is a good example, as the song builds from a drone-like church organ to a hard-charging anthem. The dynamics and range of feeling throughout this album are really special: intimate one moment and rolling thunder the next. It’s also a great album listen, which has become something of a lost art in these days of algorithms and streaming playlists. 

Over the past decade, Beach House has become synonymous with dream-pop. The duo has consistently written gorgeous music with a hypnotic, almost otherworldly quality that often defies conventional expectation and revels in risk-taking. But by definition, its sound has typically been a little more dream than pop. Album number seven for the Baltimore-based group flips that relationship, but only ever so slightly. And the result is perhaps the band’s finest recording to date. 7 is indeed a cover-to-cover listen. When consumed in one sitting, the record’s 11 songs will reward the complex palates of longtime fans. But Beach House have also created some truly great standalone tracks here. Songs like “Lemon Glow,” “Dark Spring” and “Dive” standout with their less-than-subtle hooks and a surprising drive. And this being Beach House, they get better with each listen.

You can either fear the unknown, or you can embrace it. Beach House has spent the last 13 years worshipping it, each new song and album a dance of devotion to an unnamable, immutable creative force. After following it down to its most elliptical and interior on 2015’s Depression Cherry and Thank Your Lucky Stars, where else was there for Victoria Legrand and Alex Scally to go but outward? 7, the dream-pop duo’s most collaborative and extroverted album yet, springs forth with an urgent and unpredictable energy. It plunges you into dense, interstellar shoegaze (“Dark Spring”), then grounds you in stargazing grunge balladry (“Pay No Mind”), before sending you on a mechanical 808 track through the woozy “candy-colored misery” of “Lemon Glow.” And those are just the first three songs. Breaking from a long partnership with producer Chris Coady, Legrand and Scally began assembling 7’s immersive arrangements in a new home studio before finishing them off with space-rock experimentalist Sonic Boom, a.k.a. Peter Kember of Spacemen 3. The shake-up paid off spectacularly. Together they’ve crafted a towering psych record that plays like a radio response to otherworld transmissions like My Bloody Valentine’s Loveless or This Mortal Coil’s It’ll End In TearsYou can try to drift off in its dark, dreamlike textures, but like those seminal albums, 7 will keep prodding you to witness its mysteries up close. It will keep asking you to search its layers, to savor each image flying by—to give yourself over to the moment. And by now Beach House has well-proven that, whatever the next moment holds, they’ll see you through it. This is a band you can trust with your life.

This Pay No Mind video is directed by our friend Michael Hirsch. We’ve been lucky to have friends join us on the road over the years. They’ve helped us stay sane through all the hard touring. Mike recorded this footage between 2015-2018, and it documents many live performances over that time. We like how it focuses on the audience, as they are the whole reason we go on tour. We also like that it shows some of the scuzzy reality of tour

Watch the Peaceful Video for Beach House's "Pay No Mind"

Beach House  have released a further music video for “Pay No Mind,” from their latest album 7. The video was directed by Michael Hirsch, and is made up of touring footage from 2015-2018. “We’ve been lucky to have friends join us on the road over the years,” the band said in a statement. “They’ve helped us stay sane through all the hard touring.”

“Pay No Mind” is perhaps the most romantic song off 7. Its gentle, lethargic chords feel like a prom-night waltz at the bottom of the sea, Victoria Legrand’s vocals shining down like fractal pillars of light. The video finds the small serenities in the chaos of touring—from the murmuring excitement of the crowd to the bliss of performance and the road the next day, the video finds solace in repetition.

Watch “Pay No Mind” below and check out the earler video and 7 standout track “Drunk in LA.” The video was directed by album co-producer Sonic Boom, who also remixed Beach House’s “Black Car.”

The video is the third from 7, following “Dark Spring” and “Black Car.” It features wobbly, watery animation of everything from liquid horses to fractal treetops, to a blacklight-infused stage play set.

The band said the idea came from Sonic Boom, aka Pete Kemper, while they were all out together at dinner and he “mentioned an idea for a video where the viewer is always looking up from the ground.” After complimenting him on the dreamlike nature of the video, “he wrote that it was essentially just a day in his life.”

Beach House  just wrapped a sold-out North American tour, and will be embarking on a European tour this fall.

Watch the video for “Drunk in LA”

Listen to Beach House's New Song "Alien"

Beach House  have shared a new song, “Alien,” along with an accompanying music video. The track is a b-side off the band’s new seven-inch single featuring “Lose Your Smile,” off their latest album 7.

This recently announced and ready for shipping is a 7″ from the beloved group Beach House. These two songs appear on slime green vinyl and the B side is an unreleased song. For Beach House junkies like myself, I’ll need this in my collection. Get yours. A limited edition 7 inch that was originally sold on their European tour. Side A is “Lose Your Smile” from the album 7. Side B is a new song called “Alien”.

“Alien” is proof that Beach House can dip their toes into just about any genre they want and come out with their dreamy melodies intact—in this case, they don the guise of shoegaze. At times, it sounds remarkably like My Bloody Valentine’s landmark Loveless, and it works incredibly well. The spacey wanderlust of Beach House has always seemed to be in the same neighborhood as the dreamscapes of shoegaze, especially Victoria Legrand’s vocals, which so often manage to be both background and foreground.

Beach House - 7

Unlike any of the Beach House previous albums, 7 has no producer in the traditional sense. Spacemen 3’s Sonic Boom (aka Peter Kember) was said to be a driving force behind the album, making sure it was protected against studio over-production and over-development. What we get is a more organic sound from the pop duo, highlighted by single “Dive,” which begins with a bright organ leading into Victoria Legrand’s soft vocals, slowly building into a dynamic climax that picks up with propulsive electric guitars.

7 is the 7th full-length record from Beach House. It marks the start of a new chapter for the band, who’ve been together for over 13 years and had most recently released an album of b-sides and rarities which they they described as “…a good step for us. It helped us clean the creative closet, put the past to bed, and start anew.”

The new album, 7, is about rebirth and rejuvenation for the group, allowing them the opportunity to rethink old methods in the writing and recording processes and shed some self-imposed limitations. They’ve delivered a truly remarkable work of art in this new album and we can’t wait for you all to experience it for yourselves.

The dream pop duo Beach House have released a new video for the song “Dark Spring” another  track taken off their 7th album 7, which is set to be released via Sub Pop Records on May 11th. The video, directed by Zia Anger is shot in stark black and white, with many of its shots and edits recalling classic film noir movies.

Musically speaking the song is a more uptempo affair, riding a bubbling synth line and an urgent drum pattern. As usual, the icy vocals of Victoria Legrand and the winding guitar work of Alex Scally take center stage, giving the song an epic sense of feel.

Beach House return with one of their finest records to date, loaded with infectious, immersive melodies… Few can create such dreamy, melancholic yet pop–tinged worlds, as this duo.”
Long Live Vinyl – 8/10

“While still unmistakably the work of Beach House, 7 is arguably their freshest sounding and texturally–rich set since 2010’s breakthrough Teen Dream.” London In Stereo

“More a subtle restyling than a full–on reincarnation, the soft–edged weightlessness, sumptuous tones and gauzy vocals still instantly recognisable on songs such as ‘Woo’ and the drop dead gorgeous ‘Dive’.” Uncut – 7/10

“Vast, hypnotic, beautiful… An exciting and essential album of 2018.” Louder Than War – 8/10

Beach House have become one of indie’s most dependable acts, and on 7 that continues… ‘Lemon Glow’ is a swirling cocktail of warped, wobbly synths while ‘Dive’ is another highlight, an intoxicating barrage of rollocking drums and guitar barging down the door.” DIY

Beach House are remarkably consistent, their woozy dream pop always finds a way to take up whichever space it inhabits.” Crack – 7/10

“Dive” is taken from 7, the new full length out May 11th, 2018.

Baltimore dream-pop duo Beach House have unveiled a new song “Dark Spring,” from their upcoming album, 7, due out May 11th via Sub Pop/Bella Union/Mistletone.

“Dark Spring” opens with a thunderous drum fill that settles into a steady bass drone and layered vocals. The accompanying black-and-white video was directed by Zia Anger and features an array of enigmatic image sequences: an empty house, stark trees and swimmers floating underwater. Anger said the video was “a very organic thing made with a lot of people (who are also filmmakers), that I love and trust. An anomaly in process.”

Prior to releasing “Dark Spring,” Beach House earlier shared another  cut, “Dive.” marks Beach House’s first album since 2015’s Thank Your Lucky Stars. Last year, the group released the compilation, B-Sides and Rarities.  

7 is the 7th full-length record from Beach House. It marks the start of a new chapter for the band, who’ve been together for over 13 years and had most recently released an album of b-sides and rarities which they they described as “…a good step for us. It helped us clean the creative closet, put the past to bed, and start anew.”

The new album, 7, is about rebirth and rejuvenation for the group, allowing them the opportunity to rethink old methods in the writing and recording processes and shed some self-imposed limitations. They’ve delivered a truly remarkable work of art in this new album and we can’t wait for you all to experience it for yourselves.

Pre-orders of the album in any format will get early access to stream the record from your SubPop.com  2 weeks before the rest of the world does on May 11th (streaming starts on April 27th!).

Beach House will release 7, the group’s 7th full-length record, on 11th May 2018 via Bella Union Records in Europe and Sub Pop in the US. 7 features their latest offering, ‘Dive‘. All of the songs on 7 began in Beach House’s home studio in Baltimore, and were finished at Carriage House in Stamford, CT and Palmetto Studio in Los Angeles. The album was mixed by Alan Moulder.

Beach House (Alex Scally & Victoria Legrand) released B-sides and Rarities in 2017. Scally and Legrand used to limit themselves to what they thought they could perform live, but this time that limitation was ignored. Also, instead of one long studio session, Beach House recorded when inspired by batches of songs, which resulted in five mini-sessions over the course of eleven months.

Unlike the last four albums, 7 didn’t have a producer in the traditional sense. Spacemen 3’s Sonic Boom (Peter Kember) became a significant force on this record by shedding conventions and helping to keep the songs alive, fresh, and protected from the destructive elements of recording studio overproduction and over-perfection. The band’s trusted live drummer from 2016 to the present, James Barone, played on the entire record, helping to keep rhythm at the centre of a lot of these songs.

Beach House has also scheduled a worldwide tour in support of 7 beginning April 30th ending in October 20th in Dublin, IE at Vicar Street. The tour reaches the UK for the 2 dates so far in London and Manchester shows this Autumn:

Thursday 18th October – LONDON – Troxy ,  Friday 19th October – MANCHESTER – Albert Hall

Beach House - 7