Beach’s Dream fun, unoriginal

It seems like the season of the indie bands. , the latest album from indie pop duo Beach House, released on Jan. 26 is a collection of all around feel good indie songs.

The album opens with “Zebra,” a down tempo song defined by its repeating guitar rhythm and a soft, echoing chorus. The song seems more like a lullaby than anything else and, while certainly enjoyable, is better suited for putting one to sleep.

“Silver Soul,” which opened with a nice organ and slow drums that reminds one of Pink Floyd, is the next song. Even the lyrics carry the ethereal, cosmic feel found in the Beatles and other psychedelic bands. The echoing sounds and transcendent feel, as though one is traveling through the world of dreams, is an all-around surreal experience.

Next up is “Norway.” A huge shift in energy, the tune features a guitar riff and choral ostinato that repeats throughout the song. Cosmic vocals are found in this song as well, quickly becoming a recurring motif within the album. “Strawberry Fields Forever,” The Beatles’ song, seems to be a huge inspiration for the album, because the singing of all the vocals seem to descend straight from it.

“Walk in the Park” is another trip through the surreal. The basic piano rhythms and eerie, echoing vocals of this song are more or less a continuation of the same.

The vocals, fortunately, seem a little more down to earth in “Used to Be.” A very bare song with light vocals and a recurring piano tune, it’s well complimented by jingle bells.

The bells add to the cheerful, carefree atmosphere of the song raising it from the realm of melancholy.

“Lover of Mine” is an eerie gem. With an ‘80s-esque heavy beat in the background, the song has a whistling harmony that reminds one of ‘70s music. Add to that the ‘60s Beatles-type vocals, and one has a song that has elements from all the decades. The song is definitely the highlight of the album with its eclectic mix of these styles.

“Better Times,” like every other song in this album, starts off with a repeating piano riff and light percussion sound. The piano is pleasing to the ears, but the vocals reiterate what’s been heard throughout the album. “10 Mile Stereo” is identical to the other songs in every respect with one key change: a mandolin opener instead of a piano one.

While an interesting change, the song again feels more of the same. “Real Love” is, again, much of the same, but “Take Care” features some nice synthesizers if nothing else.

Overall, this album seems to be a one-trick pony albeit a very pretty pony. The ethereal sounds and minimalist instrumentals are certainly pleasing, but buying a whole album worth of it doesn’t seem quite worthwhile. An album should really be a collection of different songs, not the same thing reiterated over and over. The eclectic mix of sounds from throughout the decades is nice, but it is hammered to death in every song, especially the ‘60s nostalgia.

Every song here is great, but, unfortunately, every song here is also the same. The group found what they are good at and really stuck with it, for good or bad.