Despite the ample explanations that accompany the record’s release, TYLS is still an enigma. The band’s insistence that it isn’t a Depression Cherry companion becomes difficult to grasp on tracks like “Majorette” and “She’s So Lovely,” with both tracks moving in broad strokes that resemble both Depression Cherry and Teen Dream. The “classic” Beach House metronomic sound echoes in the background of virtually every song.
That being said, there are songs on TYLS that act as the enviable marriage of the albums ultra-lo-fi beginnings and more recent endeavors, such as “Elegy to the Void.” Perhaps one of the best integration of all five preceding albums, you hear the metronome, drums are crisper, individual instruments are audible, and Legrand’s lyrics are unexpectedly discernible at certain points. Other songs avoid becoming heavy handed shoe-gaze with tired pop banality, such as “Common Girl” which seems to focus on one central, wretched character: “She makes movies where she cries on cue / She still lives downtown…” and “Takes the pills and hides the notices / Cartoon rings of ill will.” TYLS is miles away from tropisms like “I’ll take care of you…”
All in all, Thank Your Lucky Stars acts as an extension of Depression Cherry in a lot of ways, as well as pivot point for Beach House’s career as a whole – many may want the band to actively change in a progressive way but the band chooses to continually broaden their sound in the most familiar and microscopic ways possible instead. It's what works for Legrand and Scally, and its afforded Beach House the ability to carve out a dream-pop legacy (and avoid becoming a caricature) on their own terms.