It's easy for artists in any medium to be seduced into believing their latest project must be more elaborate than what came before. On
Depression Cherry
, however,
Beach House
reject the notion that bigger is inherently better. Where
Bloom
took their crystalline dream pop to lavish heights, these songs revisit the simpler approach of
and
Devotion
. While it's a bold choice, the results are delicate: even by
Alex Scally
Victoria Legrand
's standards, these songs are remarkably poignant and insular. Throughout the album, the duo conjures a feeling of intimacy surrounded by vastness, with "Space Song"'s arpeggiated keyboards suggesting stars shooting through an endless sky.
's return to the unabashedly artificial sound of their early albums is a potent reminder of how well they contrast with
Legrand
's lush, empathetic vocals; on "Bluebird," she sings "I would not ever try to capture you" over a busy rhythm that calls attention to how clunky and mechanical it is. Her ability to sound at once comforting and heartbreaking on the bookends "Levitation" and "Days of Candy" speaks to the sensuous nature of
's, and
's, melancholy; it's like a flavor or color that can be savored, even in its simplest incarnations.
Scally
reintroduce some of
's fullness on "PPP" -- which almost sounds like it was produced by
Phil Spector
compared to the rest of the album -- and "Sparks," which with its dense keyboards and cooing vocal harmonies could be a collaboration between
Stereolab
My Bloody Valentine
. Elsewhere, the influence of the duo's more recent work is more subtle, revealing itself in the sophisticated minimalism of songs such as "10:37." While it may not be as immediately inviting as
or
Teen Dream
,
is more than just an admirable exercise in challenging conventional notions of success. It's a grower that demands and rewards close listening -- especially under headphones, where it unfolds like a spell cast just for the listener. ~ Heather Phares