A trance-like return to form

It has been six years since the release of New York-based dream pop band Beach Fossils’ previous full-length album, Somersault. But for fans of their signature spacey sounds, the 11 tracks that comprise their latest record, Bunny, may have made the wait worth it. With delay and reverb to spare, an abundance of memorable riffs, melodies and relatable sets of lyrics, Bunny is sure to provide an experience that stands out.

When listening to the album in its entirety, it becomes hard not to feel like you’re sinking into the chair you’re sitting in. The soundscape that the group creates provides an almost out of body experience throughout the album’s duration. This doesn’t come as a surprise to veteran fans of Beach Fossils, as they’ve established this as an effect of their signature sound in the past. However, this time around, the collective found more room in their track list to branch out and utilize some more energetic sounds and musical ideas. In an interview with Spin, frontman Dustin Payseur explained, “All of the more upbeat songs came after, I think because we’d all been living such a bizarre, slow experience for so long, that we were like, ‘Alright, let’s try to do something a little more uptempo now.'”

After kicking off the album with “Sleeping On My Own,” which sets the tone with its dreamy guitars and melancholy lyrics, the group showcases their eagerness to experiment with higher energy. Their third track “Don’t Fade Away” brings the tempo up a significant amount and is somewhat reminiscent of classic Fleetwood Mac tunes.

It’s abundantly clear that the band knows their strengths and plays to them very well. To achieve the dreamy sound that they’re so well known for, they create a soufflé of guitar tones on every track, each one serving a different purpose and always adding something integral to the mix. On tracks like “Run To The Moon” and “Anything is Anything,” guitarist Tommy Davidson utilizes all sorts of layered guitars, including electric, acoustic and slide guitars, to achieve both melodic figures as well as rich accompaniment.

Any space that isn’t filled with different guitar tones is made up by bassist Jack Doyle Smith and drummer Anton Hochheim. Both Smith and Hochheim get their own opportunities to showcase their musicianship throughout the album. Smith specifically shines over the 11 tracks, exhibiting a style of bass playing that is so melodic and free that it’s incomparable, especially on songs like “Feel So High” and “Numb” where the bass riffs take center stage.

Other sounds are used very tastefully and not too often, some of the most interesting being the synth in the closing track “Waterfall” and the beautiful string pads in the back of the mix during “(Just Like The) Setting Sun.” Payseur’s vocals have to be mentioned as well, acting as the cherry on top of the dreamy sundae. Not only does his voice match the energy of the lyrics and instrumentals in such an exquisite way, but the vocal harmonies that are strewn throughout the record are just as rich as the instrumentals themselves and add a whole new layer to the experience.