It has taken me a very long time to really say I enjoy the caterwauling old world sound of Zach Condon’s Beirut. It wasn’t that I ever disliked the sort of Eastern European sounding racket this kid could produce, it was more that I didn’t want it to be forefront in my listening. The tinny french horns and trombones seemed more a perfect fit for the bits of silence in the backgrounds of my day.
In the last few months though I’ve grown to really appreciate Condon’s sort of plodding array of musical compositions. There’s a real theatricality to almost every track Condon lays down, a real sense of time and place and setting, and I’ve really come to enjoy these almost world-creations. On his new double EP March of the Zapotec/Holland Condon finds himself reveling in the funereal music of Mexico as well as digging in to a strangely electronic version of his very defined sound.
I’m going to lay one of the electronic tracks on you, but don’t think it means I don’t enjoy the warm pavillion feel of boozy Mexican music. ‘Cause I do.