By Rebecca Bulnes
By Laurie Charles
By Chuck Strouse
By Lee Zimmerman
By Laurie Charles
By Falyn Freyman
By Hans Morgenstern
When Baltimore-based dream-pop duo Beach House returns to the Fillmore Miami Beach this Tuesday in support of its new album, Bloom, the record (set for a May 15 release on Sub Pop) will not have even gone on sale. Moreover, singer-keyboardist Victoria Legrand and guitarist Alex Scally will have only publicly revealed two songs off the impending release.
A couple of months ago, the record's lead track — the luscious, dynamic "Myth" — was posted as a free stream on their homepage. And then during Record Store Day on April 21, a second tease — "Lazuli" — emerged as a limited-edition seven-inch vinyl single, featuring the nonalbum B-side "Equal Mind," a breezy, low-key affair. Limited to only 1,200 physical copies at independent music shops in the U.S., it has already sold out at many stores.
In short, since 2010's Teen Dream, the world hasn't heard much from Legrand and Scally. But the press has gotten a sneak peek, and a number of major media outlets have already praised Beach House's return to the indie-rock scene.
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In its recent music issue, Entertainment Weekly declared Beach House one of the 30 greatest bands working today. Though the duo was number 30, the list also included the legendary Bruce Springsteen and pop sensation Adele. "I saw that thing, and it kinda freaked me out," Legrand admits on the phone from her Baltimore home.
Indeed, as Bloom's release date approaches and Beach House's tour begins, the pressure is on. And in Miami, the 2,500-seat Fillmore awaits. It is a beautiful venue with its balconies and chandeliers. It is steeped in history, having famously served as a stage for Jackie Gleason and so many other television legends. But it can also be unforgiving.
A month after Legrand and Scally's last local show, opening for Vampire Weekend at the Fillmore in 2010, their Sub Pop labelmate Wolf Parade headlined there. And that band was lucky if there were 250 people at the theater that night.
Several months later, Iron and Wine also played the Fillmore. And looking out beyond the audience, frontman Sam Beam, a well-known Miami native before he signed to Sub Pop, noticed the back part of the theater's main floor (not to mention the entire balcony) had been hidden behind heavy velvet drapes. He jokingly referred to them as the "you suck" curtains.
Nevertheless, Beach House's Legrand says the band made a conscious choice, selecting the SoBe venue for atmospheric reasons. "It's about a certain level of [live] production that we want to work on," she explains. "[The Fillmore just] seemed like the one that was the most appropriate for the show we want to put on."
Of course, though, packing the seats could be a challenge. "It's a pretty big venue," she agrees. "I'm not expecting anything. I generally try not to have any expectations."
Asked about Beach House's envisioned "level of [live] production," Legrand, who actually helps Scally design and build the stage sets, refuses to provide details. She prefers to keep it a surprise. "I don't want to jinx anything," she laughs. "But we are building it right now. It will be something! You'll see. I don't want to give anything away."
For their last tour, she and Scally lugged around giant pyramids containing an ever-varying light source that smoothly shifted and pulsated through a dizzying spectrum of colors. Behind them, a curtain of light bulbs flickered, streamed, and shifted, depending upon the songs. It offered a wonderful visual counterpoint to Beach House's dreamy pop. "We definitely want to create a world for people when they come to see us, whether it's a small venue or a large venue," Legrand says. "I think that, with our music, it doesn't feel right to just get up onstage and play it and not try to make it something really magical."
And it's certainly true that Beach House's music is dense and massive and magical. The melodies slice through a churning swirl of humming, harmonious chords as if rising from the depths of the ocean. Scally plays guitar lines that ring and echo with the ghosts of psychedelic rock and early goth rock. Legrand contributes lush layers of organ while singing abstract lyrics in a patient, languorous voice reminiscent of Nico. And the beats vary from canned clicks to the soft patter of a traditional drum set.
But do not mistake Beach House for another member of the chillwave generation. This duo was buzzing long before music critics found a label for the sleepy dance music of Neon Indian or Washed Out. "That's something that happened way after we'd become a band," Legrand insists. "I don't respond to that particular title for music. I think genres in general are sort of silly.
"I definitely don't think it makes any sense with our music. Because, for me, there's a lot of force: It's thick, it's luscious, it's heavy. I don't feel chill when I'm making it at all," she adds with a laugh.
But whether or not Beach House's sound belongs to any particular trendy subgenre, there's no denying that Legrand and Scally's musical project has been surging in popularity since the release of their 2006 self-titled debut on Washington, D.C.-based Carpark Records. And this new, semisecret album should only stoke their steadily growing fan base and spur further praise from the press.