We probably should’ve seen this coming: Beach House’s musical development has floated along much like one of their songs. Beginning beautifully but a bit obscured by the haze, the band’s intentions cleared up on their second album, Devotion, paralleling the intoxicating, mysterious melodies that gradually seep into their songs. With Teen Dream, the band’s third and latest album, we see this song blossom into a chorus more gorgeous and entrancing than could have been imagined at its humble beginning.

Beach House loses nothing and gains much on Teen Dream, their debut on Sub Pop. Still present are the lush organs that have defined the band, but they’re brighter this time around. Readily identifiable are Victoria Legrand’s thick vocals, but here they sound more confident, with traces of Stevie Nicks wandering in and out. Beach House are certainly sticking to what they have done in the past, but this album is far more consistent and accessible than either of their previous efforts.

The duo are masters of managing space. Occasionally recalling the auditory parsimony championed by upstarts The xx, Beach House are also not afraid to pile on the layers. “Silver Soul” begins with a riff Sleater-Kinney would have written if Lil Wayne gave them access to his cough syrup stash, and the band adds plodding drums and distorted synth underneath to provide some snug accompaniment. Then, in the first indisputable sign that this album is going to be something special, Legrand repeatedly sings, “It is happening again,” until the song’s conclusion, complemented by crisp “ah ahhs” in the background.

Beach House? Pop? Oh yeah.

Come to think of it, all these new “chillwave” kids on the block could take a lesson from Teen Dream. The whole record is a proclamation that subtle songs can also be triumphant. Whereas Beach House has spent most of their efforts trafficking in ambience up to this point, Teen Dream takes a half step forward, especially as Legrand’s often androgynous voice rises to the forefront toward the conclusion of several songs.

The standout track, if that can be said of a record that exhibits no apparent weaknesses, is “Walk In The Park.” In stark contrast to “Gila,” the best song off of Devotion, “Walk In The Park” shows no hesitation to engage the listener. It’s flooded with nostalgia, from the constant organ to the simple, cheap drums. But instead of letting the sentiment wash over you, Legrand steps into the most engaging melody on the album in the chorus, conceding, “In a matter of time/It would slip from my mind/In and out of my life/You would slip from my mind.” Whether it’s the hard “t” in “matter” or the fact that Legrand finally gives herself the space to sound anthemic, it’s startling to hear Beach House making music this direct.

The Aughts hurled more hyperbole at us than anyone could have asked for, and I hesitate to sully our new decade with more of the same. But what the hell: I think we’ve got a masterpiece on our hands.