Album review: Beirut

March Of The Zapotec/Holland

Album review: Beirut

8 / 10 Facts about this album;

Zach Condon usually plays the trumpet or ukelele with Beirut, as a wrist injury makes playing the guitar painful and taxing

Zach Condon first fell in love with Balkan folk music, which dominated the first Beirut album, on a four-month trip to Paris at the age of 17.

When he was 15, Zach Condon recorded his first solo album, though under the name 'Real People' rather than Beirut.

Album review:

Continuing his quest to eke out the oompah from every corner of the globe, the first half of this double EP sees Zach Condon looking to the Oaxaca region of Mexico. Assisted by a 19-piece funeral band,

his trademark woozy laments (“No

man ever could steal her heart…” – ‘La Llorona’) and waltzing rhythms are present, but buried beneath layers of tumbling horns they seem much richer, with the charming languor of his voice twisting the mariachi saunter into something dark. Strangely, it’s the synth-pop gems of second EP ‘Holland’ that seem the most foreign. The breezy sway of ‘Venice’ and the lovelorn chime of ‘The Concubine’ could be mistaken for lost Magnetic Fields demos. Tessa Harris

To rate this track, log in to NME.COM

To read all our reviews first - days before they appear online - check out NME magazine, on sale every Wednesday


Please login to add your comment.

More Videos
More Beirut
Latest Tickets - Booking Now
Know Your NME

NME Store & Framed Prints
Inside NME.COM