Email this article
Beirut
Gulag Orkestar
Found in: | Music |
Only a wild guess would place Zach Condon in Albuquerque, his hometown. It would make more sense if Condon, the driving force behind the band Beirut, hailed from the dense eastern European communities of northeastern U.S., or, making even more sense, somewhere east of the Iron Curtain. His debut album Gulag Orkestar takes its influence from the Balkan brass bands, full of rich horns and lively vocals, a gypsy soul and rhythm that's both foreign yet eerily familiar.
This doesn't happen by accident. At the tender age of 20, Condon is considered a musical prodigy. Rumor holds that he
began making one-man recordings as an early teenager. After dropping out of high school at the age of 16, he traveled
extensively through Europe where apparently he was exposed to a side of European culture that would influence his
music style.
After his return to Albuquerque, Condon crossed paths with Jeremy Barns, former drummer of Neutral Milk Hotel who
also recorded with the group, A Hawk And A Hacksaw. The musicians talked of collaboration. With the help of Barns and
fellow A Hawk And A Hacksaw band mate Heather Trost, who plays cello and violin, Condon put together Gulag
Orkestar, his debut. To pull it off, Condon played accordion, keyboards, saxophone, clarinet, mandolin, ukulele,
horns, glockenspiel and percussion. After the album was picked up by New Jersey independent label Ba Da Bing!, Condon
packed his bags, headed to Brooklyn and went on tour through North America and then Europe.
Gulag Orkestar begs to be listened to, although its opening, the title track - a crying trumpet, haunting
piano and accordion - provides an eerie introduction. "Prenzlauerberg," the second track, is named after a former
borough of eastern Berlin discovered by bohemians after reunification in the early 1990's. It is a stomp of a song, a
bar-room chant and steady waltz.
With "Postcards From Italy," Gulag Orkestar changes pace. More somber and inviting, the track showcases
Condon's voice, aged with soul and effect greater than his years. It's also the first clear introduction to Condon's
simple lyrics. "The times we had/Oh when the wind would blow with rain and snow/We're not all bad."
"Scenic World" opens with an electronic beat. The beginning of the song is a considerable departure from the rest of
Gulag Orkestar, but soon horns and accordion chime in and listeners are beholden to Condon's vast musical
potential. Comparisons to the eclectic Sufjan Stevens can be drawn here.
"The Bunker" reflects on loss. Hand drums and mandolin open the song with a quiet marching beat. A steady refrain of
"And soon we go, and soon we go, and fade away/My city's dead, my city's gone, I'll sail away now." "The Bunker"
showcases Condon's great vocal harmony, a layering of his vocals that serves as a reminder of the hard work Condon
put into these recordings.
Currently, Condon and Beirut are in the studio working on their second full-length album. Yet some new material is
already available on the E.P. Lon Gisland, a stopgap Condon recorded in the studio with his eight-member orkestar.
It's a nice addition to Gulag Orkestar and includes some studio banter.
Just over 30 minutes in length, Gulag Orkestar is a snippet of what we can expect from Condon and Beirut.
The doses of repetition and lack of lyrical quality are redeemed by the music's approachability and genuine feeling,
which is too often lacking these days in contemporary music. Gulag Orkestar is wonderfully original.
Post a comment
www.insideoutsidemag.com doesn't necessarily condone the comments here, nor does it review every post.
Read our full policy.