Having caught the Eastern European fever that has hit American independent music over the last few years, Zach Condon, the now 21-year-old mind behind the band Beirut, has shifted from the Balkan folk style of his The Gulag Orkestar album and Lon Gisland EP.
Instead, Condon’s second full-length effort is a reflection of his recent time in France. The Flying Club Cup is immersed in classical pop sounds, which Condon has assimilated into his arsenal with expected authenticity.
The problem is that there is little original form or stylistic fusion present. The French flavor isn’t as rousing as the old recipe, and Condon’s oft-tedious vocal cadence has barely changed since The Gulag Orkestar. His voice remains one of an emotive crooner, but he adds vocal overdubs to the point of nausea, and his unwavering delivery is cause for fatigue.
Still, Beirut is a talented unit that arranges numerous worthwhile moments. Staccato strings beautifully dance over accordion and horn in waltz-time number “Forks and Knives (La Fete),” whereas “In the Mausoleum” presents a stirring melody and quickly twitching violin to great effect.
Steel drums surprisingly turn up in “St. Apollonia,” which offers a rare musical intersection. Fans that joined the Beirut bandwagon for Condon’s vocals are likely to enjoy The Flying Club Cup, but it may be a disappointment for those into his previously Balkan sound.
– Scott Morrow
Beirut: www.beirutband.com
Ba Da Bing Records: www.badabingrecords.com