Posted on May 16, 2009 - by Shamus McGroggan

Beirut’s Split Personality

Take two songs, one from each of the discs on Beirut’s latest double EP release and you start to get an idea of the package’s split personality. “My Wife” and “No Dice” are both instrumentals, but that’s where the similarities seem to end. The former is a drowsy, swaggering waltz complete with bombast horn section, while the latter is an electronic-tinged stomp propelled by drum machine percussion and wrapped in glowing synth lines. Santa Fe, New Mexico native Zach Condon, the man behind the Balkan gypsy-folk outfit, has, for the first time in one release, put his staggeringly contrasting artistic extremes on full display.

March of the Zapotec, the first of the discs, picks up where 2007’s The Flying Club Cup left off, with Condon’s romanticized lyrics set to all the eclectic instrumentation you’ve come to expect from a Beirut album. This time around though, Condon has enlisted the help of The Jimenez Band, a 19-piece band from Teotitlan del Valle in Mexico. The result is a fuller, more lush sound which, when it goes well, really pays off. “The Akara,” the EP’s highlight, features a dark, moody intro that eases into a picture-perfect synthesis of slow-burning vocal-hooks and exotic Balkan influences. March of the Zapotec’s shining moments are few and far between, though, with many of the tracks leaving much to be desired. Aside from EP-closer “The Shrew,” which turns into a smirk-inducing, Hassidic-flavored romp, the rest of the 4 tracks do little to expand upon the sound honed on The Flying Club Cup.

Fortunately, Holland, the second disc, is able to rescue the release from mediocrity by showcasing a side of Condon’s artistry that Beirut fans haven’t been privileged to see before. The artwork lists Holland under Condon’s old pseudonym Realpeople that he reportedly used when he was a teenager, perhaps indicating a revival of old musical infatuations. A nearly-complete electronic affair, Holland could be considered a gamble considering the favorable reception previous Beirut material has garnered in the past few years. Luckily, Holland’s new direction pays off in a big way. “The Concubine” in particular finds the marriage of programmed beats and traditional Beirut instrumentation blending together almost effortlessly. The ease with which these two contrasting styles fit together is a bit surprising. By all means, this shouldn’t work but somehow Zach Condon is able to pull it off. It’s punching horns and swaying accordions meets cascading drum rolls and articulately laid-out bell patterns, all propelling Condon’s charming crooning. From start to finish, Holland provides an unexpected and enjoyable listen that’s able to both catch listeners off guard and still please in a casual, easily-digestible way.

Released in leu of a proper full-length follow-up to The Flying Club Cup, this double EP package works well for what it is: a collection of scatter-shot material that was worked on throughout 2008. If nothing else, this package deserves recognition as a marked evolution in the musical composition of Zach Condon. But just like Conor Oberst’s brief foray in electronic-tinged music with Bright Eyes‘ 2005 album Digital Ash in a Digital Urn, the only way to tell if this represents a permanent shift in style or just an indication of openness towards new musical ideas is to wait and see. In the end, what we find with the March of the Zapotec / Holland EPs is that no matter what styles Condon is working with, he’s still able to vividly transport the listeners into the peculiar and intoxicating world of Eastern European gypsy fervor.

March of the Zapotec / Holland is out now on Ba Da Bing Records.

Beirut – “The Concubine”

Let it ring on...

• Tommy Reilly: exactly how he should (0)
• There’s a light in the gladeyes (0)
• And I thank you… (0)