Beach House
7 [Bella Union]
In 2010, Beach House reached dizzying heights as critics placed them atop the highest pedestal following the release of their third record; Teen Dream. Consequently, the Baltimore duo cemented their prominence as one of the most influential dream-pop bands of the last decade. Their sound, a sprawl of sombre soundscapes and indolent vocals, spawned groups that adopted their instantly recognisable guise.
On 7, there’re several sonic resemblances to their contemporaries, even bands that formed as a direct response to their music, namely Lower Dens. Opener, Dark Spring veers towards an electronic bombast heard on Grizzly Bear’s Painted Ruins. While Lemon Glow conjures a hip-hop instrumentality heralding Kendrick Lamar circa good kid, m.a.a.d city, an album that, coincidentally, features a sample of Beach House’s Silver Soul. By incorporating modern elements they avoid overplaying the 1980s shoegaze and lustful synth-pop to ensure tonal variation.
After two lacklustre records, a focus on making arrangements dynamic and delivering hooks with urgency is evident, if sporadic. Amongst the impressive moments, there’s a resplendent unraveling of synths and winsome percussive injections in the final phase of L’Inconnue. Elsewhere, the tranqulising Pay No Mind could easily be imagined as a piece performed in the Bang Bang Bar in David Lynch’s recent rekindling of Twin Peaks.
There’s certainly reason to return to 7 as it manages to reclaim some of the mystic that captivated audiences nearly a decade ago.
Words: Zara Hedderman
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