10 Songs

EDITORS’ NOTES

After two albums of harmony-heavy dream pop, Beach House continued its dazzling evolution with 2010‘s Teen Dream, which we named Best Alternative Album in iTunes Rewind. The ethereal, hypnotizing melodies are as gorgeous as ever on the duo’s forthcoming Bloom. From the jump, a sinewy guitar melody gets blanketed by blissful atmospheric mist on “Myth.” While Teen Dream introduced more complexity (which is echoed on the weightless, organic melodies floating from composition like “Troublemaker”), Bloom’s “On the Sea” proves that Beach House can also drop our jaws (and give us chills) with stripped-down, piano-driven journeys.

EDITORS’ NOTES

After two albums of harmony-heavy dream pop, Beach House continued its dazzling evolution with 2010‘s Teen Dream, which we named Best Alternative Album in iTunes Rewind. The ethereal, hypnotizing melodies are as gorgeous as ever on the duo’s forthcoming Bloom. From the jump, a sinewy guitar melody gets blanketed by blissful atmospheric mist on “Myth.” While Teen Dream introduced more complexity (which is echoed on the weightless, organic melodies floating from composition like “Troublemaker”), Bloom’s “On the Sea” proves that Beach House can also drop our jaws (and give us chills) with stripped-down, piano-driven journeys.

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Customer Reviews

4.5 out of 5

748 Ratings

Dreams, One Day Bloom

Matt Sanderlin,

Beach House is a critically-acclaimed, modern-day, dream pop duo/trio (technicalities vs. live show members), and Bloom is a bold experiment for a band with much expectation preceding them.

The compositions on Bloom themselves barter and tinker with traditional song form, often resulting in gorgeously dynamic masterpieces (see tracks 1-10, but especially "Myth," "Wild," "New Year"). The arrangements and harmonies are MASSIVE (see every song, but specifically "Irene" and "The Hours"), and the addition of more "active" percussion work than previous records helps expand their already dreamy sound into an explosion of sweet, musical ecstasy (see all, plus "Other People," "Troublemaker," and "On the Sea").

Basically, you need only to ask yourself these three simple questions:

1. Do I like high-caliber music, performed by stellar musicians?

2. Do I like to see a band grow and mature into infinitely intriguing versions of their previous selves?

3. Do I have $8.99?

If you answered "Yes!" to any of these questions, you qualify to shower yourself with the beauty of Bloom. As Victoria once wrote on a CD she signed for me, "Life is a Miracle." And this album is solid proof of that miracle. Enjoy, IN ITS ENTIRETY.

Strongest Beach House release, Strongest Rock Release of 2012

James Owl,

With this 4th album, Beach House achieves a perfect level of studio engineering, stepping farther than even Teen Dream. The production level accomidates the instruments, the trademark dreaminess, and Legrand's captivating vocals, to perfection. Bloom presents a unification and flow that makes it distinguished and gripping for the entire album, each track is quite welcome after the previous one, fitting in with the album, yet possessing its own (strong) qualities. Mainly the melodies and instrumental riffs. the guitar/piano accompaniment on "Myth" is sublime, the synth on "Lazuli" is rocking, the riffs on "Other People" are alluring, the instrumental layering and timing of "Irene" is top notch. Melodies for "The Hours" and "On the Sea" are noteworthy, and the drums on "wild" and "Troublemaker" are engaging. Bloom provides a very constant, very sweet, very filled-out 10 songs.

This is the best act in dream pop, mellow rock, indie alt.... of the year for sure, and probably farther back than that. This album reminds me of the "Parachutes" album feel of Coldplay, (in a good way!) with its consistency, dreaminess, craftsmanship, electricity, melodies, and style. Irene's gripping melody can be reminiscent of "Everything's not lost" with how it builds up, adds sounds, and centers on one strong melody. it even has a hidden track like Parachutes!. I'm not saying Beach House copied Coldplay at all, I'm just comparing it with another great album that it reminds me of.

I feel Bloom won't receive the attention or praise it deserves, and that's a pitty. More people who claim modern music is dead should be exposed to this, and more bands should be operating at this level of engagement , finesse, and quality. Close enough to perfect for this reviewer, most refreshing fill, vocal style, and instrumentation i've heard in awhile.

About Beach House

Despite their summery name, Beach House create music that is dark, dreamy, and alluringly hypnotic. Baltimore residents Alex Scally and Victoria Legrand (the niece of French composer Michel Legrand) formed the duo in 2005, with Legrand's hushed, Nico-like vocals and Scally's delicate instrumentation paving the way for their first batch of songs. Within a year, Beach House had charmed indie music enthusiasts across the blogosphere with their languid songcraft, and the eerie warmth of "Apple Orchard" landed on Pitchfork's Infinite Mixtape MP3 series in August 2006. Two months later, Beach House issued their eponymous debut album for Carpark. The band remained with the Carpark label for one additional album, 2008's Devotion, before graduating to Sub Pop and releasing Teen Dream in early 2010. The duo built on the acclaim of Teen Dream with 2012's Bloom, meticulously constructing a unified sound and vision meant to be experienced as an entire album rather than a collection of songs. Legrand and Scally returned to a more streamlined approach on the hushed Depression Cherry, which they recorded in Louisiana's Studio in the Country and arrived in August 2015. Just two months later, the band released another full-length, Thank Your Lucky Stars, which the band wrote after Depression Cherry and described as being a more political set of songs. Their next release saw the duo mine their career thus far for a compilation of non-album tracks. The career-spanning B-Sides and Rarities gathered 14 tracks that included the never-before-released "Chariot" and "Baseball Diamond," alongside their cover of Queen's "Play the Game," and the oldest track, "Rain in Numbers," from 2005. ~ MacKenzie Wilson

  • ORIGIN
    Baltimore, MD
  • FORMED
    2005

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