There’s a whole world in every Beach House song. Soon, the gates open to 13 more.
From the bare, dizzy longing of “Saltwater,” the first song Victoria Legrand and Alex Scally ever wrote together in 2005, through the arc of Teen Dream, a harbinger of the pair’s command of an album as a fluid statement in 2010 and the expansions of Bloom two years later, the only thing plain about Beach House was the potential the duo showed for higher art. Synth-pop was already too thin a descriptor. Beach House’s filmic, mysterious compositions were edging into a kind of secular sacred music.
Then Depression Cherry closed with 24-part-harmony. The vinyl’s red velvet-texture sleeve was a symbolic buffer from the album’s sonic devastation. How could they make another one? (The feeling upon hearing that record in 2015, for some, was— how could any band make another one?) Well, we’ll see in May, when Beach House releases new material for the first time in three years on 7.
Scally and Legrand have 77 songs in their trove, and with this seventh record comes a tour. Beach House returns to Dallas July 30th at The Bomb Factory. Tickets are on sale as of this morning.
The second single from the forthcoming album surfaced yesterday. A swerve toward dance halfway in points to a new fury:
