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Show Review

In their new video for their song "Gibraltar", the band Beirut sits on the desaturated tundra of a bottle-strewn beach in Gibraltar, or at least their fictional version of Gibraltar, clad in impeccable whites and beiges despite the littered landscape. The band passes an indigo night under the moon and the next day heads to the Rock, which is a very different place than the one in our universe. The upbeat melody, made primarily from piano chords, tambourines, and the beating of a congo drum, twists against Zach Condon's naturally melancholy, warbling voice. The video is a little creepy with its isolation, its paleness, and its feeling of neglect, but it is still just as visually humorous as many of Beirut's videos have been, especially their most recent "No No No". Yet, like those videos, it contains the same hint of sorrow - here, the mourning over the corpse of a beautiful place.

Artist Bio

One of 2006's most unexpected indie success stories, Beirut combines a wide variety of styles, from pre-rock pop music and Eastern European Gypsy styles to the alternately plaintive and whimsical indie folk of the Decemberists to the lo-fi, homemade psychedelic experimentation of Neutral Milk Hotel. At the heart of this sonic hybrid was a teenager from Albuquerque, NM, a fact that made Beirut's debut album, Gulag Orkestar, all the more surprising. Something of a musical prodigy, multi-instrumentalist Zach Condon began making one-man D.I.Y. bedroom recordings in his early teens; while conducting interviews several years later, he claimed to have recorded an entire album of 1950s-style doo wop material and a collection of electronic pop songs inspired by the Magnetic Fields. (Indeed, Condon's dolorous vocal delivery and low, somewhat shaky pitch sound directly inspired by the Fields' Stephin Merritt.)

After dropping out of high school, Condon claims to have traveled through Europe at the age of 16, in the process becoming exposed to the Balkan folk and Gypsy music that's at the heart of Gulag Orkestar. Back home in Albuquerque, Condon crossed paths with fellow New Mexican Jeremy Barnes, formerly of Neutral Milk Hotel, whose own albums as A Hawk and a Hacksaw share similarly ethnographic interests with Condon's new material. With the help of Barnes and his A Hawk and a Hacksaw partner, Heather Trost, Condon recorded the songs that would make up Gulag Orkestar largely on his own, playing accordion, keyboards, saxophone, clarinet, mandolin, ukulele, horns, glockenspiel, and percussion along with Barnes' drums and Trost's cello and violin.

After Barnes gave an early version of the album to Ba Da Bing! Records label head Ben Goldberg, the newly christened band Beirut was signed to the New Jersey-based label and Condon moved from Albuquerque to Brooklyn, where he put together a floating collective of part-time bandmembers along the lines of Broken Social Scene for live performances. Following the release of Gulag Orkestar in May 2006, critical approbation quickly moved from the smallest blogs to mainstream media outlets that pegged Condon as a one-man cross between Jeff Mangum, Conor Oberst, and Sufjan Stevens. The EP Lon Gisland followed in 2007, leading up to the full-length The Flying Club Cup later that year. In 2009 Condon released the double EP March of the Zapotec/Holland. The latter featured six electronic tracks recorded at home under the pseudonym Realpeople, while the former included six tracks recorded in Oaxaca, Mexico with the Jimenez Band, a 19-piece group from Teotitln del Valle. - allmusic.com



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