Beach House
Bloom
Release Date: May 15th, 2012
Label: Sub Pop Records
Bloom sounds too much like Teen Dream. Devotion sounds too much like the
self-titled debut record. If you’re one of the countless listeners who has
complained about the similarities between Bloom and Teen Dream, I ask that you
to take a step back, and look at the bigger picture. Listen to the advances Beach House has made from 2006 with
their self-titled album to their current and perhaps strongest release,
Bloom. I’m much more fascinated in
growth over a career rather than jolting sonic changes release after release in
order to stay “fresh.” When a band
puts out four albums in six years, easy comparisons between similar-sounding
releases will undoubtedly be made. But if you zoom out and look at their full discography,
you’ll begin to see their true development, and an impressive exploration of sound. It’s within this context of steady
development that Bloom becomes the paramount moment for Beach House.
The most obvious advances Beach House has made over their
four releases all relate to confidence.
Frontwoman Victoria Legrand has evolved from a shy lo-fi vocalist to an
emotional dynamo who can make even the simplest of line deliveries feel like
the most important words ever spoken.
Alex Scally has always played infectious guitar riffs, but on Teen Dream
and now Bloom, Scally’s focus has shifted to pushing the sound to a crisper,
shinier tone – the perfect complement to Legrand’s vocals. There are two reasons for this growth
in confidence. First, the money
spent on production has increased album to album, allowing the band to overcome
obstacles that were financially insurmountable on their first two records. Secondly, Beach House are
self-historians, understanding their own ideal sound better than anyone, as
well as the sound their audience desires and the sound they ultimately conjure
on each record. It’s obvious that
Bloom is the record they’ve tried to make three times previously. Now, with the
money and experience in their corner, they achieved their ultimate sound.
While Bloom is nearly a perfect record, it isn’t without a
few faults. My biggest complaint
has been present with all of their releases. Legrand crafts some beautifully intimate and wide-ranging
lyrics, and tackles huge themes song to song, from love to abandonment
to the simple complications of human connections. And yet none of Beach House’s
albums, including Bloom, ever makes a statement through theme that marries the
entire record. The result is an
album (while tied tightly together through a consistent emotional response to
the dream pop) that feels thematically disjointed and a bit empty. This is only a problem if you sit down
and read the lyrics along with the entire album, a problem that can be easily
ignored by many, but when we’re talking about the great albums, a connective
literary message that provides a hint of context for each track is necessary in
order to be considered among the best of all time.
Another complaint I have with Bloom is the way the album
says goodbye three times. I’m a
sucker for closing tracks – a great one can guide the listener out of the
record and tie back in some of the themes/sounds presented throughout the
audible journey. The slower paced
“On The Sea” is a smaller, more gentle song than the previous eight tracks and immediately
signals the end of Bloom. It’s
soft and touching, a perfect closer.
Then the listener is hit with six and a half minutes of “Irene” which,
once again, is a nice Beach House tune, but perhaps unnecessary after the
subtle charm of “On The Sea.” On
top of this, a hidden track pops up thirteen minutes and twenty seconds into
“Irene.” The song acts like
Salvador Dali’s melting of the standard Beach House sound. It’s slow, a bit off, and distorted like
a record spinning incorrectly on a broken turntable. Like “Irene,” this hidden track is nice, and it fits into
the world of Beach House surprisingly well, maybe even acting as a goodbye to
the sound they’ve been working on since 2006. But as the third “goodbye” on Bloom, it comes across as
exhausting rather than charming.
These faults aside, Bloom is Beach House at their best. Songs like “Myth,” “Wild,” “Lazuli,”
“The Hours,” “New Year,” and “On The Sea” are leaps and bounds stronger than
anything Beach House has released over their four-album career. Yes, they feel like extensions of songs
from Teen Dream, but why is that automatically a problem and not something to
be applauded? Teen Dream is about
as close to a universally loved record as we’ve had in recent memory – Beach
House took that sound and presented it even more effectively on Bloom. They’ve arrived, with three previous
releases acting as an artistic road map for the journey they’ve taken to find,
hone, and perfect the sound they always wanted to achieve.
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