Teen Dream

Teen Dream

4.6 5
by Beach House
     
 

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There wasn't much room for Beach House to improve on Devotion, so instead, the duo improved the room in which they made Teen Dream. Victoria Legrand and Alex Scally recorded their Sub Pop debut in a converted church with producer/engineer Chris Coady, who has also

Overview

There wasn't much room for Beach House to improve on Devotion, so instead, the duo improved the room in which they made Teen Dream. Victoria Legrand and Alex Scally recorded their Sub Pop debut in a converted church with producer/engineer Chris Coady, who has also worked with TV on the Radio and Blonde Redhead. The same dark lushness echoes through this album as those bands' works, with a spaciousness that's more like a beach mansion than a mere house (and Teen Dream's DVD of videos for each song adds to its lavishness). The slightly squalid sound quality of Beach House and Devotion had a unique charm, as if the band had to record those albums not just on the cheap, but in secret. On Teen Dream, however, the hugeness previously implied in Legrand's lyrics and luscious vocals is made real, like tuning Beach House in at their full frequency. The duo's mix of retro electronics and chiming guitars is still as dreamlike and distinctive as ever -- if anything, the tinny taps and hisses of their drum machine are even more present in Teen Dream's pristine settings, making the contrast between them and the molten slide guitars and rippling keyboards on "Norway" even more vivid. The songwriting is also more focused, using Devotion songs such as "You Came to Me" and "Heart of Chambers" as templates for the album's elegant longing. Like Teen Dream's title, these songs are wry and wise enough to know better about idealizing love, and romantic enough to still believe in it. "Zebra" positively swoons, while "Walk in the Park," with its graceful coda and chorus lament "In a matter of time/it will slip from my mind/In and out of my life/you would slip from my mind," makes losing sound beautiful, even if it's anything but a walk in the park. Despite the wintry sorrow that dominates Teen Dream and songs like "Used to Be" and "Better Times," in particular, Beach House lets a little hope into the album before it closes with "10 Mile Stereo" and "Real Love." Though it's not as eclectic and whimsical as their earlier work, Teen Dream is some of their most beautiful music, and reaffirms that they're the among the best purveyors of languidly lovelorn songs since Mazzy Star.

Product Details

Release Date:
01/26/2010
Label:
Sub Pop
UPC:
0098787084528
catalogNumber:
70845
Rank:
6192

Tracks

Album Credits

Performance Credits

Beach House   Primary Artist
Peter David   Actor
Alex Scally   Group Member
Victoria Legrand   Group Member
Graham Hill   Percussion,Drums
Robert Dolan   Actor
Dan Franz   Percussion,Drums
Laurie Isabella   Actor
Isabelle Jusseaume   Actor
Nick Krever   Actor

Technical Credits

Steve Bloom   Back Cover Photo
Chris Coady   Producer,Engineer
Beach House   Arranger,Composer,Producer,Artwork
Victoria Legrand   Director
Britta Johnson   Animation
Allen Cordell   Director,Producer,Cinematography
Alistair Legrand   Cinematography
Alan Resnick   Director
Erin Gleeson   Director
Dustin Summers   Cover Design,Layout
Benjamin Beast   Director
Arthur Benassi   Additional Footage
Kari Altmann   Director
Jon Leone   Director
Jeremy Selenfriend   Special Effects
Monique Crabb   Still Pictures
Sean Honey   Director
Sean Pecknold   Director
Maria Benassi   Additional Footage
Matt Amato   Director

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Teen Dream 4.6 out of 5 based on 0 ratings. 5 reviews.
lds0703 More than 1 year ago
Except for the deliberately-off-key parts, Beach House is FUN. It is indie froth, as light, sweet, innocuous and cool as sugared, whipped milk. When on-key, the album does very well what it attempts: the band entertains and delights. It is a considerable drag to skip over Teen Dream's failed stabs at being Challenging - like the Ramones, they should accept that they are hip and fast and fun, but unlike the Ramones, they should not front a cultural critique, satirical or otherwise. As the huraches and baggy shorts of indie pop, Teen Dream ought to accept that they are for play, not for work on this broke-back consumer culture. We do not need yet another reminder of going wrong. Once in awhile, we need joy and dance, and when they stick to the tenets of rock, they sparkle like diamonds.
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