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Most Helpful Customer Reviews
1 of 1 people found the following review helpful
Format:Audio CD
After hearing one song on the radio I bought Devotion and Teen Dream - both of which deserve five stars. This one is not far off the the same standard, so if you like the others you may want this one to complete the set.
The sound is distinctive - mostly some very "slidy" slide guitar over a layer of keyboards, with Victoria Legrand singing over the top. Dreamy, haunting, relaxing but without being background music.
There is a "hidden" track which doesn't do anything for me. ( What is the point of hidden tracks? )
The sound is distinctive - mostly some very "slidy" slide guitar over a layer of keyboards, with Victoria Legrand singing over the top. Dreamy, haunting, relaxing but without being background music.
There is a "hidden" track which doesn't do anything for me. ( What is the point of hidden tracks? )
6 of 10 people found the following review helpful
Format:Audio CD
I was listening to BEACH HOUSE in my kitchen this morning, and it served as the perfect accompaniment to my steaming mug of aromatic jasmine tea!
For the 36 minute duration I found myself floating inside a misty, autumnal bubble.
I was transported from the mundanity of my kitchen in to a world of misty riverbanks, dilapidated old chapels, deserted pebble beaches and slate-grey skies. In short, I resolved that I had just found the perfect soundtrack to the impending autumn season.
There is a TANGIBLE autumnal vibe to this quietly marvellous album. The tunes are set at a low temperature and rather etheriel, built on endearingly languid female vocals, beatboxes, echoing organs and a mournful slide guitar. One tune melts naturally in to the next, each with melancholy hooks that haunt the consciousness subsequent to listening.
The whole LP has a REMARKABLE vibe - the music has a distant, almost GHOSTLY quality. It is undeniably spellbinding. Many of these pieces are so captivating that they sound as if they were borne from the depths of a shimmering, frozen lake. Sublime.
BEACH HOUSE is a hauntingly lovely experience. Fall under it's spell as the leaves turn from green to red and we enter the most reflective season on the calender: AUTUMN.
For the 36 minute duration I found myself floating inside a misty, autumnal bubble.
I was transported from the mundanity of my kitchen in to a world of misty riverbanks, dilapidated old chapels, deserted pebble beaches and slate-grey skies. In short, I resolved that I had just found the perfect soundtrack to the impending autumn season.
There is a TANGIBLE autumnal vibe to this quietly marvellous album. The tunes are set at a low temperature and rather etheriel, built on endearingly languid female vocals, beatboxes, echoing organs and a mournful slide guitar. One tune melts naturally in to the next, each with melancholy hooks that haunt the consciousness subsequent to listening.
The whole LP has a REMARKABLE vibe - the music has a distant, almost GHOSTLY quality. It is undeniably spellbinding. Many of these pieces are so captivating that they sound as if they were borne from the depths of a shimmering, frozen lake. Sublime.
BEACH HOUSE is a hauntingly lovely experience. Fall under it's spell as the leaves turn from green to red and we enter the most reflective season on the calender: AUTUMN.
5 of 9 people found the following review helpful
Format:Audio CD
"Love you all the time" drawls Victoria Legrand on opening track "Saltwater" while queasy keyboards and sibilant percussion drone and flux in the background. It's by turns narcoleptic and unsettling but always drowsily beautiful and it certainly augers well for the rest of the album.
Second track "Tokyo Witch "offers more of the same with added counterpoints of bilious guitar. By the third track "Apple Orchard" and those keyboards are still droning , the guitars once more wavering at their higher register and the vocals are still gliding languorously and it's starts to occur to you that maybe this band are a one trick pony. Oh sure it's a lovely appealing pony trotting indolently through a sun dappled meadow but it's never going to gambol off and investigate other delights the world may have to offer. No, it's just going to trot lazily and beatifically round that bloody meadow.
Yet when you hear the glorious "Master Of None" where Legrand actually sings with something approaching passion the results are so intoxicating that Beach House's stylistic limits matter not a jot. The madrigal tones of "Auburn And Ivory" showcase more imagination but the song is a rather prosaic two step stroll. "Childhood" is built on more simplistic piano while on "Lovelier Girl "the arrangement is plodding and Legrand struggles with the low notes. On "House On The Hill" the keyboards resonate like a gargantuous organ in a monstrous cathedral which is a good thing in my book but again the song is nothing special and while final track "Heart And Lungs "does attain a measure of lambent splendour a bit is tacked on (after the obligatory mysterious pause) to a funereal dirge that sounds like its coming through your speakers on dodgy AM.
So the duo of Alex Scally and Victoria Legrand from Baltimore are capable of moments of gossamer beauty and at times do create a fascinating palette of sounds and textures. But their brand of what has been dubbed folktronica - a moniker they loathe- is too straight jacketed to appeal over the course of an album. And, at this moment their material too often isn't sufficiently compelling either. Beach House does have it, s moments but it certainly didn't make me love it all the time
Second track "Tokyo Witch "offers more of the same with added counterpoints of bilious guitar. By the third track "Apple Orchard" and those keyboards are still droning , the guitars once more wavering at their higher register and the vocals are still gliding languorously and it's starts to occur to you that maybe this band are a one trick pony. Oh sure it's a lovely appealing pony trotting indolently through a sun dappled meadow but it's never going to gambol off and investigate other delights the world may have to offer. No, it's just going to trot lazily and beatifically round that bloody meadow.
Yet when you hear the glorious "Master Of None" where Legrand actually sings with something approaching passion the results are so intoxicating that Beach House's stylistic limits matter not a jot. The madrigal tones of "Auburn And Ivory" showcase more imagination but the song is a rather prosaic two step stroll. "Childhood" is built on more simplistic piano while on "Lovelier Girl "the arrangement is plodding and Legrand struggles with the low notes. On "House On The Hill" the keyboards resonate like a gargantuous organ in a monstrous cathedral which is a good thing in my book but again the song is nothing special and while final track "Heart And Lungs "does attain a measure of lambent splendour a bit is tacked on (after the obligatory mysterious pause) to a funereal dirge that sounds like its coming through your speakers on dodgy AM.
So the duo of Alex Scally and Victoria Legrand from Baltimore are capable of moments of gossamer beauty and at times do create a fascinating palette of sounds and textures. But their brand of what has been dubbed folktronica - a moniker they loathe- is too straight jacketed to appeal over the course of an album. And, at this moment their material too often isn't sufficiently compelling either. Beach House does have it, s moments but it certainly didn't make me love it all the time
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