Alex G - Beach Music (Album Review)

 

Alex G - Beach Music

(2015)

My copy: 2015 press by Domino.

After spending years releasing home-grown demos and bandcamp albums, bedroom rocker Alex Giannascoli finally committed to a major label for the release of Beach Music. With this new endorsement came a pressure to evolve and expand - as jumping to Domino after routinely self-producing lo-fi pop songs amassed a certain intrigue about how Giannascoli’s sound would change, if at all. While his interest in quirky arrangements did not falter, a touch of Alex G’s original affable personality was lost in the move. Beach Music does manage to impress yet for its boosted production value and wider berth of instrumentation.

The introductory track is one of two remnants of Giannascoli’s more abrasive trickster past, as drum machines rise in volume and sputter under obscured cries and shrieking guitar. Then comes the big single “Bug,” which tucks soft moaning vocals under warm chords, sweet harmonics and sampled clapping. This is clearly the most in-depth Alex G recording yet, with many layers, though the edge of the early albums is sorely missed. “Thorns” is a mysterious coffeehouse puzzle of cool pads and emotional falsettos - of which there are many on the record, with Giannascoli leaning more obviously into quainter influences such as Elliott Smith. The interlocking synth melodies are a welcome addition, as they display a desire to evolve beyond guitar music. 

“Kicker” absorbs the wannabe-bad boy energy of Pavement with catchy riffing while the vocals embrace the tender side of indie-rock a la Yo La Tendo. The seductive 80’s percussion and synths of “Salt” mostly impress alongside pitch-shifted vocals and a soft reboot, though the core melody is hidden until the song is nearly over. Giannascoli is much more committed to atmosphere and sound manipulation here - as “Look Out” doubles down on the album’s synth worship and ethereal vocals. “Brite Boy” is a cutesy and romantic romp though it feels a bit too generic lyrically and musically. 

Utilizing trumpet and double bass, “In Love” is a strangely effective piece of modern lounge music that reinforces the overall melancholy of the album. “Walk” is a short guitar interlude leading into the building repetition of “Mud.” Just as the energy begins to bottom out, “ready” reinvigorates slightly in its waltz time and more optimistic melodies. The penultimate track delves into a psychedelic fever dream with melting vocals and untethered percussion, finally matching the intro track’s desire to experiment. Lastly, “Snot” is a somewhat forlorn indie jam session with tightly wound and effective progressions that evolve slowly as the song bounces along. 

While Giannascoli’s trademark sense of humor and deeper eccentricities are mostly erased, Beach Music does contain some of his most emotionally evocative sounds yet. As far as major label debuts go, Beach Music does well for upgrading the production just enough so as to not totally lose a signature lo-fi appearance. Fans of more playful indie rock songs will probably get more from earlier Alex G albums, though Beach Music does hold as the best of his Domino releases for its oddly charming and nostalgic air.