No one sets it off like this duo. The dream-pop band–my personal favorite–, Beach House, has finally released their fourth album Bloom. Aesthetically, the album seems to distinctly recognize the beauty of life’s riddles and woes through ten poetic tunes.

Well, having anticipated writing this post for such a while now, I really would like to first and foremost apologize for the delay and the blog’s hiatus.

Anyway, enough about me, back to Bloom:

I’d like to start off by saying that I truly don’t think I’ve heard a more prepossessing album than Bloom. The first dreamy-track on the 10-hit record is “Myth.” With its layers of echo surrounding Legrand’s voice while putting heavy emphasis on Alex Scally’s hazily-divine backbeat and heavenly guitar riffs, you know you’re stuck in momentary bliss. In “Myth,” Legrand’s beautifully-aching voice contemplates the meaning of made up realities which play and serve purpose to the meaning of everyday life.

With great similarity to Teen Dream, one would suppose that Bloom may seem like a carbon copy of the band’s junior album. Interestingly enough, Bloom plays almost as a sequel to Teen Dream. While Teen Dream chants heart-wrenching romance melodies and vocals, Bloom follows up with Legrand’s ethereal voice telling the expansive saga of life’s ever changing nature. Each song gracefully tells it’s own story; “Wild” is the clear depiction of teenage wasteland; “On The Sea” details the story of a girl who is coming of age; “Wishes” notes experiencing the pains of second thoughts; “Troublemaker” vocalizes haunting memory; “Irene” realizes finding peace and the lucidity of future recollections; and so on, and so forth, and so on. Admittedly, Legrand’s accompaniment of loose vocals and beautiful lyrics allows listeners to be fully-captivated and enchanted with every moment of Bloom. 

In a recent interview with Pitchfork, Beach House explained that their intent for this album was to explore deeper themes while still developing, rather than changing, their distinct roots. Alex Scally continued with saying  he “hate[s] it when bands change between records.” Incredibly, Beach House–unlike many, according to Scally– keeps it real and without ever changing their sound, they still manage to continuously improve with every album.

Audibly, Beach House never fails to amaze me. After seeing them play their last show of their US tour in 2010, the band truly convinced the audience that Teen Dream would be the remains of the band for a while. Gladly, we were played for fools. That said, I think Bloom is an album that the world should listen to because it’s crafting elegance is the epitome of the synth-pop genre and deserves to be applauded and enthralled by all.

So, I’m trying to stray away from album ratings, but..

Album Rating: 10

Listen to a personal favorite here:

Don’t forget to buy tickets to your local Beach House tour!


Big news came following the indefinite hiatus of Montreal rockers Wolf Parade, when band co-leader Spencer Krug announced the next installment in his solo project Moonface was to be released later this year. “Headed For The Door” is the first track to drop from the upcoming LP Heartbreaking Bravery, and  the sounds coming off this track are unlike anything Krug or Wolf Parade has explored before. The simplest word to describe is big. Big in every way possible: ambient drums, flowy soft synths, wandering electric guitar, and Krug’s very distinct vocals, all drenched in reverb.  Although I haven’t been a fan of Moonface’s earlier more lo-fi works, “Headed For The Door” has certainly excited me for Heartbreaking Bravery which is set to release on April 17th.