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www.beachhousebaltimore.com
By Carrie Battan (The New Yorker)
The band, made up of the vocalist and keyboardist Victoria Legrand and the guitarist Alex Scally, had made a name for itself first within Baltimore’s eclectic scene, and then in the wider world. The music was woozy and impressionistic, but also steady and painstaking. It had become synonymous with the term “dream-pop,” making it part of a lineage that includes the work of artists from the Beach Boys to My Bloody Valentine. On Beach House’s self-titled début album, from 2006, Legrand and Scally used nothing but a guitar, a Yamaha keyboard, and an organ to produce a thick, lo-fi blanket of warbled sound that drew on elements of doo-wop, drone, and shoegaze but sounded unmistakably new. Whatever alchemy had been forged between Legrand and Scally lent the music a kind of twilit mysticism.
“Once Twice Melody,” its new record, is its most ambitious and dynamic. The album has been released gradually, in chapters, the last of which will come out later this month. This is unmistakably a Beach House record, but it’s also an expansive, occasionally fantastical project accentuated with grand orchestral flourishes and eighties synth-pop glamour. It’s the group’s least focussed album yet, but it’s also so sublimely imagistic that it makes you wonder why film directors and music supervisors haven’t been hounding Legrand and Scally to create movie scores.
25 июл 2024
