Bloom is the fourth album release by American indie-pop duo Beach House; for anyone familiar with their dreamy sound, this album comes with no disappointments, for anyone who has no idea who this band is: sit back and enjoy.

Made up of French-born Victoria Legrand (vocals/organ) and Baltimore native Alex Scally (guitars/keyboard), Beach House have gained critical acclaim over the years for their signature slow beats, wispy synths and Legrand’s melancholic voice.

Their sound is dreamy with a sense of dramatic endings; it has an almost fantastical quality to it. Their music tells metaphoric tales of battles and heroes, purple hills and invisible wings that allow you to fly; of course, the undeniable lullaby similarity could easily rock you to sleep as well.

Their second album Devotion which earned them their initial popularity is mesmerizing and completely dazed; Teen Dream, which came next, was equally hypnotic but filled with more life. In what seems like a natural progression, Bloom takes one more step forward and almost literally blooms.

The first track ‘Myth’ is a great indicator of what lies ahead. Scally’s guitar flutters with nostalgia, the lingering melody and overall sense of profound finality, Legrand’s eternal poignancy ‘You can't keep hangin' on/To all that's dead and gone’ are perfect representatives of Beach House at their best.

Instead of instantly escaping back into their slow and practically abstract musical pattern, ‘Wild’ is laden with bursts of melodies; ‘Lazuli’ although pleasant with softened hums attached to what feel like travelling rhythms, sounds all too similar to one of their previous songs.

‘Other People’, which speaks in a distinctly 80s language, is coated in synths, full of Psychedelic riffs and slow motion movement; precise, muffled beats ultimately direct it all. The lyrics ‘Other people want to keep in touch/Something happens and it’s not enough’ only add to the nostalgic surge of emotions. It is really quite lovely.

The haunting quality of their music is prominent in ‘Troublemaker’ with an organ leading the way into the song, but instead of lose themselves in the bareness of two individuals distinct of one another; playing two, almost separate sounds – as with much of their previous work – the duo blend, awakening each other along the way. There’s an added fluidity that really draws the listener in.

‘New Year’ and ‘Wishes’ are easygoing and peaceful, perhaps reflective – everything Beach House in some way represents. ‘On the Sea’ is probably the least preferred track on the album, but ‘Irene’ beautifully eliminates any question as to what note Bloom could end on with whispering melodies, penetrating guitar riffs and definitive beats; Legrand’s voice as soothing as a cool breeze on hot skin – leave it for a few minutes when you think it’s ended, and it will start up again.

Bloom is great to listen to as a whole; the beauty in it is you can let it play while you go about whatever it is you do. It’s unobtrusive if you need to it to be but it’s also mystical and engaging; full of imagery and feeling if you will it to be that instead.