Before I began writing this review, I felt determined to write about the LP, the music and the individual qualities each song holds. I noticed that other reviews just banged on about Beirut and their sound, not this particular album. Right, now I’ve got that off my chest…
Sounding like Black (‘Wonderful Life’) collaborating with Gorillaz to create some David Byrne devised world chamber music, Beirut confuse and to a refined degree, alarm, certainly ticking a lot of boxes, however askew they may be, as they go!
Lush orchestrations and piano lead interludes are often neglected, sneaking out of the back doors of the spaghetti western or cold war evolution inspired songs that house them. A subtle tip of the hat toward French 50s pop is almost ever present yet ever canny and subliminal.
Charisma and confidence are effortlessly entwined into each of Zach Condon’s absorbing musical tapestries. Bewildering constructs, rich in peculiarity and just as bold in execution, mirror, in a somewhat more masculine way, the wonderful music of Regina Spektor and her every ounce of quirkiness and free flowing class.
The most amazing element of this release, aside from the billion varying ideas, distinct influences and every last mesmerising homage that have come together to create it, is the fact that Beirut released a debut LP just last year. If its anywhere close to being the monster of diversity that this LP is, surely the likes of Beck, Dave Grohl, Mike Patton and all those other genius busy body, idea having folks better watch out, ‘cause there’s a new productive force on the scene, or at least on the outskirts of it, who could put your creativity and diversity to shame!
And yes, I recognise my part failure in reporting what the actual LP is like, but I’ve surely given enough to entice, right?!