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Much like the reappearance of a long-lost relative, The Rip Tide is a welcome return that is both unexpected and surprisingly enjoyable.

Building off its well-established worldly, bohemian style, Beirut continues its sweeping and haunting orchestral numbers in a much more simplistic fashion on its newest effort. Taking a departure from heavier compositions and opting for a lighter pop and folk sound, The Rip Tide assembles a mix of bittersweet, nostalgic songs accented with dashes of ukulele, horns, organ, strings and the occasional synthesizer.

The whole album is reminiscent of sweet late-summer nostalgia. Holding on to those warm breezes, crisp leaves turning colors in anticipation of the coming fall, and — most of all — the feeling of home. Listening to this album is not only a college cure for homesickness, but is akin to flipping through an unfinished scrapbook; the horns, organs, cymbals and crooning vocals become a soundtrack to the best and worst memories, bringing both smiles and tears.

While featuring fresh, upbeat pop tunes such as “Payne’s Bay,” “Vagabond” and “Port of Call,” The Rip Tide contrasts these newer sounds with more familiar drawn out, orchestral pieces like “Goshen” and “The Peacock.”

Though possible to overlook, this album is a gem. Growing on the listener with each note, these songs quickly gain deeper meaning and pull at a wide range of emotions. After each listen, you’ll be left begging Zach Condon to sing you the lyrics just one more time. Closer “Port of Call” leaves listeners with a sweet sense of satisfaction and – after a few seconds of soaking up the auditory goodness – a seemingly compulsory need to click the replay button.

Bravo, Beirut. Time has made the heart grow fonder.

You can see Beirut at The Fillmore Auditorium on September 28.