Paracosm is Ernest Greene's second full-length album as Washed Out and he's back together with producer Ben Allen. At first glance it may feel a little bit like business as usual for Greene, one of the first break-through acts from the chill-wave scene and along with Toro y Moi, one of its most successful alumnus.

Unlike Toro y Moi, Greene is yet to stray significantly from the genre that broke him, and Paracosm isn't set to change that. Everything contained within this album is wrapped up in the same dreamy ice cream sundae feel that Washed Out are known for. But that isn't to say this is a simple sequel to debut Within and Without, which itself felt like an extended and widescreen version of Life of Leisure (albeit with all new material). For every moment that feels familiar (the opening verse of 'All I Know' ploughs recognisable territory) there are moments that mark an expansion of Greene's sound.

The Washed Out approach has deliberately been changed up on Paracosm, embracing a range of instruments beyond his standard synth and computer combo. More than 50 different instruments feature on the album including a wide range of vintage keyboards, such as the Mellotron, which was featured on the Beatles' 'Strawberry Fields' and was constructed using pre-recorded sounds, with individual notes recorded for each key in the chromatic scale.

The result is an album that feels even dreamier, but grounded via a deeper sense of nostalgia that feels like the accumulation of dust in the groove of a record player and faded photography from your youth, like authentic versions of those hipster Instagram photos belched out into the world at a rate that dwarfs everything else the human race has ever created up until now. Of course, Paracosm isn't old or dusty, and so in some ways it is just the aural equivalent of those Instagram shots itself, only Washed Out feels modern and psychedelic at the same time.

In adding instruments to his second album Greene has added a crucial depth to his music, but it comes laced with complexity and a certain darkness. 'It All Feels Right' is trodden in grit and spectral patterns that create a spellbinding concoction, a little like Röyksopp remixing Tame Impala covering the Beta Band. 'Don't Give Up' reflects the inclusive DJ styles of the long-mourned Avalanches and, even closer still, Boards of Canada. Its analogue and manages to be boyant in it's willingness to place a bet on rusty production and elegant touches.

Where chill wave felt spent and empty Paracosm is richer. Faced with some subtle yet significant changes it is perhaps the future that is the most exciting element of Washed Out's new album.

Paracosm is out now on Weird World, available from Amazon.co.uk on CD, LP or MP3 [affiliate links].

In hindsight it is obvious that Ernest Greene's debut EP as Washed Out, Life of Leisure, was an important release. For me it marked the beginning of the crossover of chill wave - one of the early releases to encapsulate a new emerging sound. For Washed Out at least, full blown album Within and Without is probably even more important. This year we have already seen Toro y Moi's sound buckle and change under the pressure of increased ears, follow up Underneath the Pine responding to the challenge of staying fresh within a new genre by effectively abandoning it. The world is moving on, what will Washed Out do to avoid becoming washed up?

First things first: Washed Out isn't abandoning anything. Within and Without is faithful to the sound popularised on the first album. A progression of sorts maybe, but whereas Toro y Moi seemingly threw away everything, the kitchen sink and the plumbing, this feels very similar to the music of Life of Leisure.

Opening with single 'Eyes Be Closed' makes sense - it feels like a bridge to this album, fresh and sounding like the sea and sunshine. Where Within and Without pushes things though is towards larger, more memorable melodies and a greater emotional diversity. 'Eyes Be Closed' and 'Amor Fati' are examples of the larger tunes. The latter almost feels like one big chorus of layered vocals and big keys and for the first time it feels like Greene has made music that will stick in the mind and keep the listener coming back.

There also feels like there is more of an arc to the album - the first half all starry-eyed and overwhelmed before things begin to cool down at midway point 'Far Away', which soundtracks that moment when the feeling wears off and reality sets in. The comedown really peaks on the title track - the sunshine and good vibes seemingly run out with the holiday money, the beat plods on home knowing that the best has probably already passed.

Let us hope for Washed Out at least it hasn't. Within and Without is a welcome release and it feels more sophisticated than anything on Life of Leisure, but the cards are still being kept close to the chest. Whilst Toro y Moi throws too much away, perhaps Greene hasn't thrown away enough: I can't help but long to hear Washed Out take a few more risks.

BP x

Within and Without is out now on Weird World, available from Amazon.co.uk on CD, LP and MP3 [affiliate links].