There are undeniable moments of hopefulness in each track. Legrand’s deep and dreamy vocals float over each of the synergistic arrangements. Even through the fragility of ‘She’s So Lovely’, there’s promise of happier times to come, albeit with a hint of hesitance. Particular high points for me include ‘All Your Yeahs’ and ‘Rough Song’, both of which balance that hopeful/hesitant dynamic that really strikes a chord with me. Lyrically, Beach House are often lofty, but ‘Common Girl’ presents a concrete and evocative character. I challenge anyone who claims they don’t have an immediate image after the line, ‘She makes movies where she cries on cue’.

‘The Traveller’ acts as a cosmic-themed prelude to the heralded ‘hallmark’ of the record, ‘Elegy to the Void’. Initially, I thought this track was a bit try-hard existentialist, but those brief, contorted clangs of guitar hit me in my core. The build is a cleansing enteric massage that gut-punches at its zenith sending the listener reeling into an expansive night sky.

This surprise release has been accused of being an over-stimulation that prevents Depression Cherry from properly percolating in the ear canals of listeners. As someone who has spent the last month and a half listening to DC on non-stop repeat in the car and throughout numerous sunset cider sessions, I was pining for fresh Beach House. So, from where I sit, I’m thanking my lucky stars.