And I think of this as part of the bargain. SCALLY : If you’re a political person of some kind, and you’re disseminating information and you watch it get degraded and abused, I think that would be infuriating and insane. If we became hysterical about degradation or anything, that was a conversation to be had years ago. There’s a point when you’re done and it’s not yours anymore. Some artists come to resent the idea that their art is being degraded as it travels - that people are putting it into a box or using shorthand or reducing it to a stereotype. SCALLY : I do think with some young people, it’s like, “It didn’t happen if I’m not sharing it” - that’s kind of a subtext to some people’s way of processing reality. People typically think of your music as something experienced very personally and privately - yet they have this exuberant reaction where they want to share the experiences that they have with it. Minimalism felt really ruthless and sociopathic to me. Over all, this has been a time to not scale back in terms of intensity, you know, in terms of making art or music - this was not a time for us to minimalize. Not just with our music, just in general. Being over the top and grandiose and ridiculous and expressive and crying and screaming and all of that - I’m glad to hear about that happening. It just sounds like people are having fun - and that, to me, means a lot, because fun is rare. There’s a dangerous narcissism that you could go to. I think it’s kind of more fun knowing it exists than to be hunting it down and looking at it. LEGRAND : I was told last week that there were some videos of some reactions to listening to this record. I asked Legrand and the multi-instrumentalist Alex Scally about being so popular online despite not being online at all.Īre you guys aware of how much people post about listening to Beach House, about what Beach House makes them feel? It’s Beach House’s timeless magic: the experience of arriving in Legrand’s cross hairs. It’s secretly a song about a post-lockdown night out, but the lyrics are sewn-together images and feelings: a hawk in a black-star sky, a text message left unanswered, the words “you feel your heart break and you don’t know why.” The abstractions wash over you until, one day, that you is suddenly you. In “New Romance,” the best song on the new album, the band is as oblique as ever. Most times, the “you” in the singer Victoria Legrand’s second-person songs doesn’t seem as if it’s you, me or anyone I know. They are the internet’s favorite band, I think, because their music can function both as an anonymous haze and as startlingly specific when it needs to be. Also on TikTok, their 2015 “Space Song” became a sensation, deployed to attach its ennui to fostered cats, rainy scenes from Korean dramas and lots and lots of crying. Yet somehow, the duo are beloved on social media: “We’re all going to be so depressed!” squealed one TikTok influencer over their latest album, “Once Twice Melody.” The comedian and Twitter luminary Jaboukie Young-White posted a 2021 Spotify recap featuring only Beach House songs “you okay?” a fan half-joked in reply. They make sprawling albums in preference to hits, sounds that uncurl slowly rather than hooks.
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