For a band 14 years and seven albums into their profession, the Sea breeze Home ride can easiest be described as phenomenally untroubled. The interior most turbulence and ravishing sputters that come to plague practically about all bands appear to bear handed Victoria Legrand and Alex Scally by fully. All the pieces has fallen into position for them at exactly the simply time; their improbable new LP 7 easiest confirms the impression, by now lengthy established, of an exceptionally fortunate concordance.
They met, both freshly accredited by liberal arts colleges, in Baltimore. Legrand (Vassar ’03), a lapsed actress with roots in France and Philadelphia, performed piano and sang; Scally (Oberlin ’04), a Baltimore native, programmed drum machines and performed guitar. The aptness of their partnership used to be precise now definite to both; before lengthy it grew to become definite to the wider world. Hazy soundscapes, charged with a hit harmonies and presided over by Legrand’s majestic vocals, had been how they identified themselves. It used to be no longer ceaselessly an remarkable sound, however the 2 had been inventive adequate to work aloof diversifications on it — to join a new fly, so to talk, to the prevailing dream home.
Clearly they came about on the finest title for their act: with its intimations of dazed, luxuriant relaxation in the proximity of ceaseless waves, the rather attraction of Sea breeze Home used to be no longer doable to fail to spot. Their magnificent fortune even extended to their reception: between the noteworthy and with out problems legible indie heritage (Mazzy Celebrity, Cocteau Twins, any shoegaze band you like) in the abet of them and their impeccable self-presentation, Sea breeze Home used to be exactly the roughly band that Pitchfork used to be created to laud, and they also came about to emerge exactly while the rep assert material’s impression used to be ballooning to huge proportions.
From 2006’s Sea breeze Home on, the albums came and went adore moods: no longer rather mountainous, however continuously mountainous adequate. The albums would possibly possibly perchance by no means be reduced to every other, however the adjustments between them had been continuously minor, and continuously tasteful. The affective intensity has been significantly fixed. Other than on uncommon cases, adore their 2012 album Teen Dream, the sound of Legrand’s say tends toward dissociation: as an replacement of inhabiting them fully, she continuously appears to be like to fly a pair of feet above the photography and narratives her lyrics title, an terminate vastly accentuated by the blur of ever-demonstrate reverb. The feeling of the Sea breeze Home sound is, on this sense, an abstract ride: it’s the pleasure of being emotionally stable. Even after they named a 2015 album Despair Cherry, it used to be onerous to carry out out any angst or misery during the billowing synths; if something else, we concept to be interesting crimson, a fab candy taste, the proximity to cheery.
When even despair feels rich in spirit, something potentially wants to swap. The cushioned surfaces that typified 7’s six predecessors had served, I believe, an antidepressant feature: the vaporous resonance, in its deferral of that means, canceled out any doable sources of stress. For the polished hordes of aloof liberal arts majors experiencing some aggregate of unsafe emotion and financial insecurity between 2006 and 2015, Sea breeze Home’s music served as a potent reminder that the magnificent life used to be detached in attain, detached sensible.
In a new generation defined by the impossibility of consolation and ease, the music will essentially swap, and it’s to Legrand and Scally’s credit that they behold as vital: remarking on the inventive job in the abet of 7, they talked about that the “societal madness of 2016-17 used to be moreover deeply influential, as it ought to be for many artists on this day and age.” Accurate to their observe, the lyrics on 7 are more frostbitten than frequent, the band’s old cool reducing into colder spaces: a roughly bleakness seeps into the language of “darkened, boring-terminate rooms” and “the cool […] adore a tomb.” But for the reason that meanings detached drift away sooner than they are going to also be registered, the more necessary impression comes on the sonic stage, the keep textures more difficult than any on their prior albums demonstrate themselves all over again and all over again.
Commanded by Peter Kember, a.k.a. Sonic Enlighten from Spacemen 3, the manufacturing swaps out the ambience of clouds and waves for something clearer, more edged and more huge. The guitars detached circulate, however now, on occasion, they moreover grind (“Dive”) and sting (“Lemon Glow”). The drum machines were swapped out for the band’s are residing drummer, James Barone, and the place in vitality is palpable. Obvious tracks (“Dusky Vehicle”) sport entice-adjacent drums, the skeletal clicks imparting a new, jittery dynamism; more primitive rock beats ("Darkish Spring”) surge crisply forward. The shoegaze comparisons are more convincing now; the gentle, crunching echoes of My Bloody Valentine on “Pay No Mind” are unmistakable. There’s moreover, in the spectacle of Legrand’s chilled, borderline stoned, meditations on feminine photography and glamour, a certain hint of Lana Del Rey’s Honeymoon. I’m no longer definite if 7 qualifies as a darkly, precise now political album (there’s nothing to attain from framing it that manner), however the darkness and directness of its sound, blended with Legrand’s old sibylline vocals, add as a lot as something welcome and remarkable in the Sea breeze Home catalogue — their finest album in an already spectacular situation. The lifetime of leisure has continuously been stuffed with harsher shadows: by reflecting on their existence, Legrand and Scally bear created their truest, most uneasy imaginative and prescient yet.