Friday 18 Apr

Dustin Prinz - Eleven

Few musicians take the time to master their instrument in the way that Oklahoma City singer-songwriter Dustin Prinz has; he’s a guitar virtuoso in every sense of the word, and Eleven gives him the chance to show just how far he can push that skill.
04/15/2014 | Comments 0

Horse Thief – Fear in Bliss

Listening to Horse Thief’s previous release — the haphazardly melodramatic Grow Deep, Grow Wild — felt like a chore. Whatever potential the Oklahoma City folk-pop act demonstrated on the EP was obscured behind a formulaic, contrived and ultimately hollow cloud. But it at least offered a glimmer of promise for a band consisting of, frankly, five pretty talented dudes. Critics saw it; the band’s management saw it; its current label, Bella Union, saw it; and its increasingly fervid fan base saw it.
04/08/2014 | Comments 0

Colourmusic — May You Marry Rich

There’s always a sense of danger when debuting songs in a live setting and playing them well. Without having heard the studio versions, expectations are set according to the live incarnations. But capturing the breadth of free-flowing atmosphere and sheer volume on a disc, vinyl or digital file isn’t the easiest thing to do, especially for a band as vociferous as Colourmusic.
04/01/2014 | Comments 0

Em and the MotherSuperiors — Churches into Theaters

As titles go, Churches into Theaters is an apt descriptor for the debut album from Oklahoma City rockers Em and the MotherSuperiors. It’s a reverential record, one that shares the gospel of classic rock, blues and soul but embraces the need to refashion it for modern times, channeling The Dead Weather, Grace Potter and Cage the Elephant along the way.
03/25/2014 | Comments 0

Rachel Brashear — Revolution

Rachel Brashear’s second EP, Revolution, starts with a kick to the shins.
03/18/2014 | Comments 0
Home · Articles · Music · Music · Line in the sand

Line in the sand

Don’t you love that one Beach House song? Then Beach House doesn’t love you.

Joshua Boydston July 3rd, 2012

Beach House with Wild Nothing
7 p.m. Monday
Cain’s Ballroom
423 N. Main

credit-lizflyntzCredit: Liz Flyntz

Dream-pop duo Beach House finds itself in a precarious situation. The Baltimore act long has been weary of the foils of fame, but it’s been flirting with it more and more with each album.

Its latest, Bloom, saw demand for the band hit a fever pitch. The record debuted in the top 10 on Billboard’s album chart, and suddenly, everyone wanted a piece of Beach House.

Multi-instrumentalist Alex Scally just hopes it doesn’t go spiraling out of control.

“It's not about not wanting people to hear you. It's about wanting people to really hear you,” he said. “When you start getting sold, what starts happening is that people aren't fans of the band — they’re fans of one or two songs. They're fans of images of the band, not the band itself.

“People come to the shows and wait for two songs. They don't want to buy an album, they want to download a single. That's not who we are. For our art to get across, people need to hear 10 songs. It's not a pretentious thing where we don't want to be big or don't want to be mainstream — we just want people to hear us for what we really are.”

It’s a far cry away from where he and singer Victoria Legrand found themselves six years ago, playing to handfuls of people.

“We were not good live,” Scally said. “We had no clue what we were doing. Having a slow growth is real important to finding themselves and being confident in their art and not letting things go to the control of managers and labels. Bands are getting too big too fast. It's not good for anyone, because the artists can't mature correctly and make another good record.

Beach House has; 2010’s Teen Dream was its most beloved to date, garnering the duo a spot opening for Vampire Weekend and laying the groundwork for Bloom.

It’s a double-edged sword, however, as some complain Bloom is just more of the same.

“They aren't good music listeners,” Scally said. “We are only Beach House. We're not going to make anything drastically different from who we are. Yes, it sounds like the last album, because we can only be ourselves.”
Bloom may be slightly darker, yet it as beautiful and rich as ever.

“We design this music over a long period of time in a very complex fashion. You'll be hearing something for the first time 10 listens in,” Scally said. “We want music to explore. We want music that is deep. Music that is three-dimensional.”

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