Chapter 1: Pink Funeral

Once Twice Melody seems to be a metaphor for the bittersweet continuity of life, with its oscillation between beauty and loneliness as time advances. On the audible side of things, the string arrangements shine rather alluringly as they decorate the hypnotic mix of intimate drums and never-ending acoustic guitar arpeggios. This constant repetition also parallels the lyrics’ thematic approach. Overall, the cut is laid-back and leisurely composed — maybe (slightly) to a fault.

Mid-High 8.

Superstar is a wonderfully poetic and melancholic detailing of a loving relationship coming to an unwanted end. The images of stars rapidly falling paint quite a saddening lyrical picture of the breakup, as well as an emotive depiction of loss. Instrumentally, the ever-growing structure in which synths begin to pile on top of each other to create a fantastically immersive and psychedelic soundscape towards the end is nothing short of soothingly meditative.

Mid 8.

Pink Funeral continues with a story similar to the last track, with some additional allusions to the Swan Lake story in order to help the narration of a relationship destined to fail. The sonics also remain consistent and dreamy, with some interesting decisions in instrumentation. Most notably, the whimsical harp and the string section (which continues to be present and ornamental) Additionally, the melody in the chorus is quite memorable, touching, and charming. The only note worth adding is that it’s a tad long and lacking in structural variations.

Mid 8.

Through Me comes from a place of recognition — acknowledging one’s falsities and lack of transparency, as well as angst for what the future may hold. Moreover, the lyrics seem to take an optimistic disposition, hoping to change these things within the context of a relationship. Instrumentally, this cut boasts more of a noticeable structure than previous songs, with verses that are nicely separated from the beautifully inspiring chorus. What’s more, the constant building-up of the track —adding more synths, vocals, and strings as it goes— concludes wonderfully in the form of a powerful breakdown.

Mid-High 8.

Chapter 2: New Romance

Runaway: here, the speaker has a downcast tone as they wonder what has become of this *runaway* (possibly a past partner) since the last time they saw each other. The lyrics also address the runaway directly, speaking of how they are running away from responsibility, the truth, and (ultimately) the relationship. Instrumentally, there are a number of amusing details in this song: from the drums in the intro, to the harpsichord-like synths, and the brightly shining chorus — there’s a reasonable amount of ear candy here. Though overall, it is compositionally and production-wise a bit less entrancing than other songs on the record manage to be; when speaking of the verses albeit not the choruses.

Low-Mid 8.

ESP is a sarcastic title in the face of the song’s lyrics. They depict a point at which the end of a relationship is too obvious and too imminent to be ignored. This makes the concept of *ESP* and the “could you read my mind?” line read as satirical and slightly comedic amidst the blatant sadness. On the other hand, this song’s production is admirably eclectic and borrows from previous, recognizable Beach House synth sounds and guitar tones. The distorted drums contrast with the calming flavour of the strings and the acoustic guitar; what’s more, the electric guitar melodies towards the end sound at the perfect marriage between distant and gigantic — courtesy of an impeccable, reverb-coated tone. However, disappointingly, this is an example of a mix that keeps the cut from being what it could potentially be due to a lack of cohesion between the instruments and layered effects

High 8.

New Romance lyrically unearths the mistakes made in a relationship, admitting to “messing up” in retrospect as the relationship begins to end. However, there is also “no wrong or right” in this eventual conclusion; since the relationship has come to a point of individual change too large for connection, as painful as that may be. Sonically, one of the most memorable aspects of the track is the way in which the synths kick in as the chorus arrives, contrasting nicely with the velvety vocals. Additionally, the repetitions and delay effects employed on top of this add an enjoyable and fitting layer to the atmosphere.

Low 8.

Over and Over brings back the theme of continuity approached in the title track, with a perspective of endless repetition. It poetically zooms out of individual stories and paints a bigger picture — probably as a metaphor for the infinite and intertwining idea of human connection at large; almost like a cosmos. Instrumentally, this cut’s most striking features are its structure and duration. At the midway point, the song switches and begins to build up into an ethereal experience by virtue of smooth vocal performances and enveloping synth layering. However, the minimal and ever-growing approach is less rewarding this time around since the song is a hair overlong and tedious.

High 7.

Chapter 3: Masquerade

Sunset is a simpler and (both compositionally and lyrically) more straightforward track. The songwriting paints a vivid and colourful picture of a *sunset* — furthering the album’s tendency to admire and talk about stars, the sky, and the universe. The audible side of the cut features a calming (and admirable) combination of acoustic guitar strumming and synth accompaniment, as well as some endearing vocal melodies.

Mid 8.

Only You Know talks about the speed at which experiences become memories, and memories become distant pasts — leaving the listener with the message “don’t blink”; since even the best and most loving times can go “right past us”. This hook, made purely of vocal repetition effects, is quite melancholic and simultaneously captivating. Additionally, the bridge’s increase in energy revitalises the track and makes it more emotionally dynamic. Sadly, this is another case of a disappointing mix, but this time it’s because it makes the song sound dull and flat. This leaves me wanting more, but not in the best of ways.

Low 8.

Another Go Around speaks to the repetitiveness of falling back in love and (once again) feeling the mixture of emotions that entails: from infatuation and tenderness, to dread and painful loss. Instrumentally, the track has a hypnotic and danceable waltz-like rhythm, along with a simplistic and limited set of melodies. This is by no means something negative, in fact, it makes the song all the more entrancing and immersive. Moreover, the song never ceases to introduce little details that keep it from being humdrum and only propel it forward fantastically.

Mid-High 9.

Masquerade is a fairly cryptic track with allusions to the departure of a mysterious and attractive person in a masquerade. It seems to allude to the helpless feeling of meeting someone who you’ll never meet again. Instrumentally, the cut feels somewhat foreboding and slightly darker than other tracks. Moreover, the electronic (and almost futuristic) elements on the low end are also rather enjoyable and aid the bell-toll-like melodies heard across the song. Another admirable element is the outro, which becomes progressively darker in the most subversive of ways.

High 8.

Illusion of Forever takes the recurring allusions to the universe and seemingly turns them into a message of loss. Not of something or someone, but of the emotion of feeling lost in the enormity of it all, as the speaker “can’t believe in nothing just yet” as they look at the sky and the stars; described as precious gems. On the other hand, this track is a bit underwhelming in the face of some other (and previous) points in the record. The synth work, production, and performances are still commendable, however, but the compositional creativity is a little lacking. Sadly, this only begins the downfall of this album.

High 7.

Chapter 4: Modern Love Stories

Finale is a bittersweet song that suggests how it is through melancholy (as we look back on our pasts) that we realise how the most heartwarming memories we have are the ones in which we weren’t actively looking for the best time. Sadly, this song falls into a similar pitfall as the last cut — in the way that it’s also a tad forgettable and uninteresting. Although the long outro is dreamy and largely nice; the main, plucky, and starry keyboard melody is only interesting to a lukewarm extent. All in all, it’s somewhat humdrum and uninspired, but the charm is still there.

Mid-High 7.

The Bells: it appears that here, *bells* are a metaphor for memories — their ringing represents every time we recall them as we continue through life, leaving them behind. Personally, there is not much else that’s all that evocative from a lyrical perspective. Sadly, the instrumental also disappoints, making this the third track in a row that isn’t up to par with what the album can achieve during its best moments (and it gets worse). However, The post-chorus guitars have a nice tone to them, and a somewhat charming melody as well.

Mid 6.

Hurts to Love is a wholly disappointing cut on all fronts. The lyrics are an uninspired and boilerplate take on the ‘love hurts’ cliché without any real message. Additionally, it’s probably the audible elements that pain me the most. The synths sound cheap, throwaway, rushed, and scrappily put together this time around; moreover, the melodies are simultaneously shabby and peppy in a way that doesn’t leave all that much to be enjoyed — disappointingly.

Low 5.

Many Nights turns away from the more turbulent love stories told previously and simply paints the picture of a loving, recurring, and reassuring relationship that has seen *many nights* of enjoyment and togetherness. Instrumentally, the structure of this song is a minimalist, gradual, and ever-growing surge of carefully chosen electronics (and eventually guitars) that slowly layer on top of each other in order to build an atmosphere that’s delightfully warm and comforting. However, the synth tones and melodies still feel slightly uninspired, though the track is strong regardless.

Low-Mid 7.

Modern Love Stories is a cryptically written tale of a “darkness” that engulfs the protagonist by the time the song is finished. This could be a metaphor for the corruption that leads a relationship to end, although it doesn’t evoke all that much — personally. Sonically, this cut’s mix is quite disorienting and a tad lousy as the instruments have no balance between them, especially in the first half of the song. Moreover, the whole song is unevocative and lacking in emotivity despite the powerful outro that closes the whole album.

High 5.