After suffering a divorce and a nervous breakdown, Zach Condon, the lead member of his band Beirut, still managed to release a light and breezy LP with No No No. Fitting with the evolution of the more modern sounds explored in the band’s previous album, The Rip Tide, their newest grows into a nostalgia of retro ’60s sounds.
Beirut has been for their gypsy orchestra sound, drawing inspiration from of eastern European and Balkan folk music. Over the course of their albums, they have slowly let the gratuitous turn of the century vagabond act invoke indie layers, with their newest LP being barren of the old world sound.
No No No opens with a more structured and pop-orientated track, that sounds like it could be playing in ’70s Europe. “Gibraltar” offers a head nodding beat emitting from the bars of percussion introducing a new chapter, a new story. The parallels to Condon’s personal life are written in lines like “Who laid a line? / Say you’re like my kind”, the accusatory finger pointing of a sour relationship.
It only builds from here, with stand out tracks being “No No No” and “August Holland”. Both have similar piano, vocal and drum arrangements, Condon’s voice being one of the most calming, gentlest of waves to dip the ears into for just awhile, and it shines across this album.
The entire is an accessible introduction to the band for new listeners, leaning towards the economic and still very well tuned. “August Holland” dwells and builds into the big band sound usually heard in older Beirut songs, showcasing Condon’s talent for perfectly executed pieces, a composer and conductor rolled into one.
As it stands, Beirut has made something newer fans can be turned on to, and older fans can appreciate. Clocking in at a little under half an hour, No No No makes itself known as an introspective and fresh work, with an interesting direction to follow.
7/10
Anthony Campbell // A&E Editor
