"In general, this record shows a return to simplicity, with songs structured around a melody and a few instruments, with live drums playing a far lesser role. With the growing success of Teen Dream and Bloom, the larger stages and bigger rooms naturally drove us towards a louder, more aggressive place; a place farther from our natural tendencies. Here, we continue to let ourselves evolve while fully ignoring the commercial context in which we exist."
At its heart, ‘Depression Cherry' is an album about the wonder of true happiness, with space, or the infinite used as a metaphor for love. "From an empty sea, a flash of light" sings Legrand on 'Space Song', delivering the record’s key line. But it’s difficult to share the singer's awe when the musical backdrop sounds so tired. Finale ‘Days Of Candy’ is a cosmic hymnal using sci-fi synths and devotional choirs, but it’s too little, too late. This is one fairytale losing its magic in the retelling.
But between an arresting start and a lavish finish, the album loses steam. Billed as a back-to-the-basics approach, Depression Cherry is often languid and shapeless, its songwriting lacking the passionate force of 2012's breathtaking Bloom. The tuneful, uptempo "Wildflower" recovers some momentum by the final third, and also features Legrand's best stanza: "What's left you make something of it/The sky and what's left above it/The way you want nothing of it." Her characteristically apostrophic lyrics describe choosing an inner world over the outer world, with the implied danger of circling endlessly inside one's own head, chasing a mirage of infinite possibilities. Depression Cherry's flabby midsection finds Beach House similarly situated: treading repeatedly over the same ground, yielding diminishing returns.
Beach House in Deutschland:
04.11.15 Köln, Gloria
14.11.15 Hamburg, Kampnagel
16.11.15 Berlin, Huxley's
17.11.15 München, Freiheiz