Beach House - Depression Cherry (Album Review)

 

Beach House - Depression Cherry

(2015)


My copy: 2015 press with velvet jacket by Sub Pop.


Almost ten years had passed since the dream pop duo of Victoria Legrand and Alex Scally released their debut album. Beach House had been signed to Sub Pop for roughly five years, and promised Depression Cherry would be their biggest record yet. Unfortunately, despite a few shining gems, Beach House’s 2015 release is mostly a tiresome showcase of slow dreary repetition. 

“Levitation” is a solid opener that revels in patience: it works here as new elements sneak their way into the mix from fuzzy guitar to the delayed emergence of bass and new synth tones. Legrand’s voice is as regal and evocative as ever, remaining a key highlight of melody. A distorted and looped sample of Legrand repeats throughout “Sparks” which sounds like Bowery Electric and Slowdive minus what little energy either of the two had between them. The bright, distorted guitar helps to set the song apart before “Space Song” which may be their biggest hit yet. Melancholy synth progressions build images of dark bedrooms as Beach House’s signature slide guitar glides over arpeggios. “Space Song” is the simplest track, but is better for it as it may be the most catchy. 

Cheap keys and drum machines are contrasted against piercing guitar on “Beyond Love” which attempts to use syncopation to keep things interesting but it ultimately falls into a boring mush. By “10:37” the album has lulled you with repetitive low tempos to the point that the track is almost totally forgettable. “PPP” tries something different with a ¾ time signature and icy guitar arpeggios- the payoff of the vocals coinciding with the bass before the slide guitar peaks almost makes up for the song lasting way too long. “Wildflower” is more boring padding but “Bluebird” boasts one of the catchiest vocal melodies on the album. “Days Of Candy” deserves recognition for branching out: it utilizes a full choir to replace the synth, with Legrand singing over the shifting vocal arrangements. This is the most intriguing sense of longing conveyed on the whole album. And eventually it transitions back into their usual sound via drums and piano. 

Depression Cherry proves that Beach House were not out to innovate or push their sound forward; they were content with sticking to slow, mid to low-tempo dream pop ballads with little to impress newcomers. Still, there are moments of ecstasy here and there, when Legrand’s voice manages to win you over.

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