What renders Condon so endearing is the manner in which the Santa Fe singer-songwriter infuses unconventional, non-pop stylings into his melodic folk music, led by his deep, charming brogue. Having played trumpet in a jazz band as a teenager before developing a passion for Balkan folk music (leading to his exploration of world music), Condon possesses a rare depth of cultural insight. Consequently, Beirut’s sound has remained distinctive and engaging in its fusion of folk, jazz, world music and baroque-pop. Beirut’s sophomore album, The Flying Club Cup (2007) – influenced heavily by Condon’s love of French singers, film and culture – saw him seep into the consciousness of enthralled indie music fans, but it’s The Rip Tide that will embed itself, deeply.
Santa Fe – the latest single from Beirut’s third album, The Rip Tide – sounds effortlessly simple, but the ode to Condon’s hometown will leave one humming its infectious melody till no end; its cyclical, chugging rhythm unleashes into a flourishing horn section at mid-point. Despite being a multi-instrumentalist himself, Condon’s musical compadres infuse even greater breadth into the songs without rendering them overdone. East Harlem‘s engaging romanticism stretches its lure but never descends into cringe-inducing levels. Skipping percussive beats, warm keys, jazz inflections and horns colour this gorgeous serenade, as Condon laments “I’ll never make it in time” before assuring himself: “the sound will bring me home again”.
Beirut’s third album – recorded in upstate New York and Condon’s hometowns of Albuquerque and Santa Fe – delves intimately into themes of community and isolation. The Rip Tide is beautifully adorned in string, brass and piano arrangements that swoon, mourn and enrapture, while sprinkles of playfulness exude modesty and innocence into Beirut’s sublimely-crafted composition. The Rip Tide is Beirut’s most accessible record, but it’s also his most charming and memorable. More pertinently, Beirut has established himself as a truly international artist. As illustrated by the title track’s lament of “this is the house where I feel alone” and Port Of Call‘s imagery of sailing solo, it’s Beirut’s sonic paintings of dislocation and disconnection that leave the most profound impact.
Best Track: The Rip Tide ; East Harlem; Payne’s Bay
If You Like These, You’ll Like This: Noble Beast ANDREW BIRD, Fleet Foxes FLEET FOXES.
In A Word: Charming
