Bloom Beach House

• 1 Myth 04:18
• 2 Wild 04:58
• 3 Lazuli 05:01
• 4 Other People 04:24
• 5 The Hours 04:11
• 6 Troublemaker 04:55
• 7 New Year 05:25
• 8 Wishes 04:46
• 9 On the Sea 05:32
• 10 Irene 16:57
• Total Runtime 01:00:27

Info for Bloom

Bloom is the fourth full-length album by Baltimore-based Beach House. Like their previous releases (Beach House in 2006, Devotion in 2008, Teen Dream in 2010), it further develops their distinctive sound yet stands apart as a new piece of work. Bloom is meant to be experienced as an ALBUM, a singular, unified vision of the world. Though not stripped down, the many layers of Bloom are uncomplicated and meticulously constructed to ensure there is no waste. Bloom was recorded in 2011 at Sonic Ranch Studios in Tornillo, TX and mixed at Electric Lady in NYC. The band co-produced the record with Chris Coady.

"It's a strange paradise," Victoria LeGrand sings at one point on Beach House's fourth album Bloom, and there isn't a more apt description of the beautifully heartbroken mood that she and Alex Scally create here. Reuniting with Teen Dream engineer Chris Coady, the duo designed the album to be listened to as a whole, and fittingly, it often feels more like a suite than a collection of songs. This ambition is admirable, but it also means that it takes a while for individual moments to emerge from the album's beautiful haze. Indeed, Bloom may be Beach House's most sonically gorgeous album yet, with an icy sheen that doesn't warm up much, even when recordings of locusts and seagulls show up between tracks; it's easy to imagine LeGrand exhaling clouds of mist while singing the backing vocals on "Lazuli." While the endearing, sometimes awkward intimacy of Beach House's earlier work -- which felt like LeGrand was crooning confessions over creaky, vintage keyboards and drum machines just for you -- is missed, Bloom's shimmering remoteness enhances the album's philosophical, searching approach to love and loss. It's a mood and setting perfect for LeGrand's vocals, which have never sounded richer or more world-weary: "What comes after this momentary bliss? Help me to name it," she calls out on the opening track "Myth," a sentiment echoed later by "Wishes," where she wonders, "How's it supposed to feel?" Emotional moments such as these take their time to emerge, but when they do, they're riveting, particularly on "Troublemaker," which recalls Beach House's previous albums in its delicate dance between sad, stark verses and more hopeful choruses, and on the beautifully resigned "Irene," where a whimsical keyboard melody offsets and underscores the feeling of loss at the same time. Since Bloom's suite-like flow downplays Beach House's poppy side (with the notable exceptions "Other People" and "The Hours"), it's not the band's most immediate music, but the album's challenging mix of heartbroken words and aloof sounds rewards patient and repeated listening." (Heather Phares, AMG)

Beach House is Alex Scally and Victoria Legrand and Bloom, released in 2012 is the band’s fourth full-length album. Like their previous releases (Beach House in 2006, Devotion in 2008, Teen Dream in 2010), it further develops their distinctive sound yet stands apart as a new piece of work. The landscape of Bloom was largely designed on the road, between the countless sound checks and myriad experiences during two years of tour. Throughout this period, melodies, chords, rhythms, words, and textures surfaced in moments of their own choosing. These spontaneous ideas were later gathered and developed in Baltimore, Maryland where the band lives and works. Bloom was then recorded in late 2011 over a period of seven weeks at Sonic Ranch Studios in Tornillo, TX and mixed for another two at Electric Lady in NYC. The band co-produced the record with Chris Coady. Bloom is meant to be experienced as an ALBUM. It offers a singular, unified vision of the world. “Many songs were omitted or dropped because they lacked a place within our vision for this album,” notes Scally. Though not stripped down, the many layers of Bloom are uncomplicated and meticulously constructed to ensure that there is no waste. Each chord and melody performs its role to form a whole. The songs have depth and reveal themselves in new ways through repeated listening. As a complete work, Bloom transcends the banality of simple emotions and arrives at a realm of honesty and complexity. It soberly reveals how frightening and temporary, yet beautiful, our existence is. It creates an honest reflection of death, as it must to relate to life. To this Legrand adds, “Bloom is a journey. For me, it is about the irreplaceable power of imagination as it relates to the intense experience of living. A bloom is only temporary… a fleeting vision of life in all its intensity and colour, beautiful even if only for a moment.”

Beach House

Beach House
Alex Scally and Victoria Legrand met through a mutual friend in 2004. Beach House formed in the late spring of 2005 (the year of the rooster) after both parties realized that they had a preternatural musical vinculum.

While spending a good deal of time together playing and recording music Alex and Victoria enjoy not dating, not being related and not having grown up together. As such questions are tossed at them often the duo also shares the common interest of explaining to people that they are not dating, not related and did not grow up together.

Oddly enough, they both existed separately before meeting one another. They had adorable little childhoods. Alex was born and bred in Baltimore City, and Victoria grew up just about everywhere. She was born in Paris (France) where she lived until she was 6, and she remains fluent in French. She then hustled it on over to Baltimore, but somehow in the era of chicken pox their ships missed each other in the night, and Victoria soon moved on to the glamorously rural Cecil County, Maryland. She then moved north to Philadelphia before she hopped back to Paris for a stint and finally returned once again to and settled in Baltimore. Alex was…still living in Baltimore and when Victoria returned to Baltimore the two experienced the aforementioned meeting. It was thrilling for all participants involved.

Both members of the band have long-standing relationships with playing and learning about music. Alex began tickling the ivories in elementary school and picked up (and played) other instruments in his early high school years. This is also when he first began recording music. Similarly, Victoria was classically trained in piano from the age of 7 and began formally training her voice at the age of 14. She also studied theatre formally at the International School of Jacques Lecoq. Victoria started writing her own songs at the age of 18, after deciding that she’d rather play her own music than mouthing other poets, as they say. A lot of the lyrics and songs she currently composes find their seeds in the piano and organ playing she does.

The pair agrees that their influences are too numerous to list. Fortunately, they both like listening to music and right now they like listening to The Zombies, Neil Young, Emitt Rhodes, Dusty Springfield, The Supremes, Nirvana, Earth, Ann Peebles, The Beach Boys, Hank Williams, Ravel, John Cale, Velvet Underground, Elliott Smith, Tony, Caro & John, The Beatles, and Daniel Johnston amongst others.

The band recorded their first, self-titled album in February of 2006 and the second, Devotion, in August of 2007, the year of our Lord. They have toured with Arbouretum, Clientele, and Grizzly Bear. When they’re not touring about and playing music Victoria and Alex support themselves by working within the sidewalk jobs. Alex slings a hammer as a carpenter and Victoria slings booze as a bartender.

Booklet for Bloom