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The Rip Tide

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Editors’ Notes

The Rip Tide, Zach Condon’s fourth release as Beirut, isn’t the full-immersion experience into another time and place that his first three were — exploring the Balkan and Roma traditions on Gulag Orkestar, roaming the French countryside on The Flying Cup Club, or tromping with a Mexican funeral band across the front half of the March of the Zapotec/Holland EP. But the locales he visits on this release are still fascinating. It’s like discovering an intriguing town close to home that you never knew existed. “Santa Fe” uses a simple, catchy synth groove for a light techno pop feel, “East Harlem” rides punchy horns and percussive piano to its finish, and “A Candle’s Fire” and “Goshen” are textured, well-crafted songs with memorable melodies. The title track and “Vagabond” are the most cinematic and richly orchestrated numbers, featuring layers of harmony vocals and sweeping instrumental flourishes. Less theatrical and quirky than previous releases, The Rip Tide’s relative restraint places the inventive arrangements and Condon’s warm croon front and center.

Biography

Formed: 2006 in New York, NY [Brooklyn]

Genre: Alternative

Years Active: '00s, '10s

One of 2006's most unexpected indie success stories, Beirut combines a wide variety of styles, from pre-rock/pop music and Eastern European Gypsy styles to the alternately plaintive and whimsical indie folk of the Decemberists to the lo-fi, homemade psychedelic experimentation of Neutral Milk Hotel. At the heart of this sonic hybrid was a teenager from Albuquerque, New Mexico, a fact that made Beirut's debut album, Gulag Orkestar, all the more surprising. Something of a musical prodigy, multi-instrumentalist...
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The Rip Tide, Beirut
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