To Beach House, each of their albums —from their self-titled 2006 debut through to their latest, 2018’s 7— exist as strange, wonderful worlds unto themselves. When they start making an album, they have no idea where it will take them. “Making an album isn’t like you go into an office, you have a contract, and you have all these bullet-points,” Legrand says. “We never have a clear outline of what we want to do.”
For 7, they harboured one particulardesire: “The biggest force behind making this album was the desire to change,” Legrand says. “The desire to change is very powerful. And, when you feel it, you must take action.”
On prior records Beach House recorded full demos, then tried to recreate them in the studio. This time they produced and recorded themselves, working in collaboration with Pete ‘Sonic Boom’ Kember, formerly of Spacemen 3. Mixing the recordings was shoegaze studio legend Alan Moulder, making for a loud, layered record. “7 had a lot more force in it, and it made it the perfect record to work with [Moulder] on,” Legrand says.
This process was designed to make 7 the duo’s most unspoken record; to have it represent their particular way of working. “We’re trying to get closer and closer to the origin, when the moment of creativity occurs, and it’s so beautiful and so pure and so light,” Legrand says. “We’re trying to decrease the amount of time between that moment and the moment of the final recording.”
Beach House play Sydney’s Enmore Theatre on Monday, March 4; Melbourne’s Forum Theatre on Friday, March 8, and at Golden Plains Festival on Saturday, March 9.