Boardwalk is a successful dream-pop record which manages to maintain its pacing and tone throughout. This debut, self-titled album from Boardwalk (Mike Edge and Amber Quintero) is drenched in the same sun-soaked vibes we're used to seeing from bands like Beach House. Hailing from Los Angeles, this record is a fine example of the genre, but doesn't do too much to excite along its duration.

Amber Quintero's vocals strike a fine line between being dreamy and being disinterested. When she's on-point, however, the result is fantastic. Album opener, 'I'm Not Myself', mixes a strong guitar line, with Quintero's gorgeous vocals, reminiscent of music playing from a 60s diner. 'Crying' replicates the opener's charm, with a gritty guitar line playing over reverb-filled chords and strings. "There's no use in trying/I can't stop crying" sings Quintero through the track, and it fits in really well with the overall sound the band are aiming for. Album closer, 'I'm To Blame', starts with some soothing electronica which builds throughout, and rounds off the album exceedingly well, varying enough in its run-time so as not to make it feel like the longest track on the album, which it is.

The biggest complaint of Boardwalk (that I have) is that it manages to lose itself in its own world a bit too much. Sections blend in to one-another, and it's a great shame, as the identity of individual tracks disappears. It becomes hard to navigate the world Boardwalk are trying to create here; you keep on imagining that there's more there, and when it lets you down, it leaves you a little empty. The recent dream-pop release from Cuushe showed us that this didn't have to be the case; there's still room in the genre for it to surprise and delight you in ways you wouldn't necessarily expect. For the second track, 'What's Love', Boardwalk tread a path which doesn't deviate far at all from it's starting point. It's a pleasant experience - there's very little here to dislike - but it's certainly hard to come out the other side with anything but confusion and disappointment. Disappointment because Boardwalk certainly have the skills to shake up their repertoire a little bit.

For example, 'Keep The Wolf' is a track which is beautifully led by both band members as it mixes a harsher percussion sound and a tremolo guitar, but it's so pushed back in the mix that very little attention is given to them. It's a great shame, because it makes the vocal line front and centre, at the cost of some really interesting and cool instrumentation. When the tracks fail to stick, in this genre more than others, the result is that of an album which is remarkably consistent, but fails to resonate beyond its more immediate offerings.

Boardwalk's debut album is interesting but not very dynamic. There are parts of every track which offer a glimpse of something genuinely exciting and different, but they're hidden behind walls of reverb and a vocal line which, although beautiful, doesn't offer much to take away with at the end of listening. It will be interesting to see where Boardwalk go with future releases.