We’re not that aware of the other side, nor do we really care what people think about the fact that we do things the way that we do, because we just do them.
The whole thing about minimalism or whatever, to me I’ve never thought about it that way because from the very beginning, Alex and I in becoming the two of us as Beach House—that was something even in itself that was extremely natural in the sense that we’d written some songs but at some point we’d considered just being a regular band.
Paste : The band has made it clear that Depression Cherry is a return to form, though it seems like a natural continuance for what Beach House has done already.
Generally when asked about this return to this particular state or something or what has maybe changed from the previous work, I always just mention the drum aspect as an example of one thing that was altered or pared down. It’s just more like once you’ve made four previous albums, there’s a lot of song crafting that you’ve done and experienced, and there’s a lot of song forms that you’ve made. Legrand: I don’t think we have ever had any kind of difficultly in being perceived.
I think because we just don’t think about that kind of stuff.
With 2012’s Bloom, Beach House’s sound reached a zenith of sorts, offering listeners the band’s most aggressive translation of their music yet.
While that album worked wonderfully in the context of its purpose, the band’s next creative step with Depression Cherry seems all the more a natural progression and not a return to prior forms—a point the group itself has offered in promoting the album’s release.
In a recent conversation over the phone, Legrand was quick to point out what she sees as a misleading nature concerning the band’s own descriptions of Depression Cherry.
Regardless of the wording, though, the record is in fact a strikingly bare collection of songs with little more for the listener to focus on than an unobtrusively expansive sound that carries as much if not more weight than anything else supposedly heavier the band has produced in its career.
But also the songs are different, so they’re going to sound different no matter what.
As for the simplicity thing, we should never have said that because obviously the concept of this is supposed to be different to everyone, and I think for us before really even making this record, we had gotten to a place of really wanting to be as natural as possible with what we would make and really let the songs dictate the form and not aggressively put anything into it that would alter the spirit of the music in a way that we found to be kind of aggressive.
I think by not having live drums be such a moment in the writing process, it really freed up a lot of space in certain ways.
But there’s a lot of layers to production and the writing process. Paste : Considering the sometimes misperceived idea of minimalism in music, have there been obstacles either musically or professionally for the band just in terms of perception from audience or even critical expectations?
I even asked my boyfriend, “Would you want to be in the band,” and he was like, “No, no, no.