If there’s anything defining Beach House, it’s consistency. The Baltimore synth-pop duo would never subvert its status quo and release a “Kid A”; its specialty is good records of moody indie pop, located somewhere between the minimalism of Mazzy Star and the ethereality of Cocteau Twins, undergoing subtle tweaks since Beach House’s 2006 self-titled debut.
“Depression Cherry,” its fifth full-length, is another minor shift. But where Beach House spent nearly a decade effectively beefing up its production with every release (see the maximalist sonics of singles “Wild” and “Other People” from 2012’s “Bloom”), this new album is a retreat to the simpler, unfussy feel of the first two records. Again the straightforwardness suits the band well, starting with opener “Levitation,” which is beautiful and weightless as nothing, but chiming synths and singer Victoria Legrand’s cooing falsetto combine to feel like the whole arrangement is floating.
Throughout, Legrand, who’s more known for her hazy contralto, lends every offering a certain dreaminess (the soaring harmonies of a track like “10:37” stand as highlights, and the ornate, choral nature of closer “Days of Candy” is simply angelic). When she sings melancholic lines as unassuming as the “PPP” couplet, “Like tracing figure eights on ice in skates oh well/And if this ice should break it would be my mistake,” there’s enough personality to completely animate the words. On that song, guitarist Alex Scally, the band’s secret weapon, lets loose some woozy riffs to make it a near-perfect single.
Other times, like on “Bluebird,” the duo makes the same midtempo indie pop we’ve come to expect. While it’s a worthy track, it’s no different than many of the other album cuts throughout its catalog. This happens again on “Wildflower,” another casualty of Beach House sticking to its guns a little too closely. For the past nine years, the duo has crafted its own inviting but foggy vibe. This is a testament to its ability to make an undeniable atmosphere, but a little variation with tempo or mood would suit the band well.
With any back-to-basics record from a supremely reliable if unexciting band, it’s a challenge to determine whether it’s worthwhile as a new release as opposed to fans just revisiting the early catalog. “Depression Cherry,” while one of the prettiest records of the year, doesn’t exactly prove why supporters shouldn’t just go back to Beach House’s “Devotion” or its self-titled debut.
3 stars (out of four)
[email protected], @joshhterry
For more music, click here.