The MG Album Club - #42: Beirut - The Rip Tide

[axolotl]

Beirut is the pseudonym of one Zach Condon, a man with a ukelele and a synth. Oh, and a trumpet.

I have loved his music ever since I first didn't want to retrieve his EP Lon Gisland out of my player 12 years ago. Since then, I seem to snap up most of his stuff, at least when priced right. I did buy March of the Zapotecs on vinyl, for what it's worth (or for whatever was on the price tag, but I don't remember). All words that preceded this were to establish my formidable street cred.

It's a bit of a sad situation when an album of this caliber falls to #573 (wait, that was last week; this week it's at #577) for the year on RYM, and Pitchfork virtually neglects one of its darlings. [Well, to be fair, they gave it a 7.7, when some previous works were rated more stratospherically.] Still and all, they did have this to say:

Despite Condon's clear development, The Rip Tide is a defiantly small effort-- the shortest LP in Beirut's catalog (nine songs, clocking in at just over 33 minutes), self-released on Condon's own label, Pompeii. As such, it's a record that's easier to slip by unnoticed than Beirut's two other LPs. (The lack of the previously present heavy affectation contributes to this as well.) However, our own Marc Hogan put it best in his recent Playlist item on "East Harlem"-- you get as much out of Condon's creations as you put time into them, and familiarity eventually becomes its own reward. Near the end of the album's beautifully mournful, penultimate cut "The Peacock", Condon repeats this telling admission into the face of fading horns: "He's the only one who knows the words." His antiquated fantasies still very much belong to him, but it's still a joy to peer inside them-- even if the canvases they're displayed on have shrunk ever so slightly.

All I have to say is, at 33 minutes running time, it wouldn't kill you to listen to it.

Spoiler

POTUS describes it as "perfect."

 

[Zeeba Neighba]

^
I love this pick
At the old site when lists of top albums of this year came out, this was my #1

 

[Nickyboy]

All I have to say is, at 33 minutes running time, it wouldn't kill you to listen to it.

Well....alright. But if I start to feel queasy, I am blaming you.

 

[Unsomnambulist]

Beirut evokes a sense of nostalgia for World War II era Post-War Europe-- nostalgia for something that this listener was born long after. And yet the images it conjures are in color, not black and white! (Old style Hollywood movie color, at that.)

 

[Nickyboy]

I don't think "nostalgia" is the word you are looking for. It was not a good time.

 

[Unsomnambulist]

I don't think "nostalgia" is the word you are looking for. It was not a good time.

By World War II era I mean 1945-55. Not really during the war.

Edit: I guess the term I'm looking for is "Post-War Europe".

 

[Nickyboy]

By World War II era I mean 1945-55. Not really during the war.

Edit: I guess the term I'm looking for is "Post-War Europe".

I am looking forward to listening to this. All 33 minutes.

 

[Ojai Sam]

Looks verrrry interesting to me.

Here's the Spotify link:

 

[Ojai Sam]

I can definitely see why folks like this album artistically but was having trouble relating to it personally. So I decided to take a look at the Music Map for Beirut. Now I can easily see why Beirut doesn't really ring any bells. With the exception of Tom Waits (what's HE doing here? ) and The Decemberists, there's nobody I'm particularly fond of. To be perfectly honest, a lot of them I've never even heard of. This says more about my own limitations than it does about the quality of these artists.

Of late Nick slipped Beach House in on us and I genuinely enjoyed that, so there's still hope for me. Thanks for opening my ears, Axo!

 

[Nickyboy]

View attachment 3170

I can definitely see why folks like this album artistically but was having trouble relating to it personally. So I decided to take a look at the Music Map for Beirut. Now I can easily see why Beirut doesn't really ring any bells. With the exception of Tom Waits (what's HE doing here? ) and The Decemberists, there's nobody I'm particularly fond of. To be perfectly honest, a lot of them I've never even heard of. This says more about my own limitations than it does about the quality of these artists.

Of late Nick slipped Beach House in on us and I genuinely enjoyed that, so there's still hope for me. Thanks for opening my ears, Axo!

Funny you should mention and post this. There are a bunch of groups I don't recognize there, but a bunch that I do, and I like them. Looking forward to giving this a listen when I get the time.

 

[axolotl]

View attachment 3170

I can definitely see why folks like this album artistically but was having trouble relating to it personally. So I decided to take a look at the Music Map for Beirut. Now I can easily see why Beirut doesn't really ring any bells. With the exception of Tom Waits (what's HE doing here? ) and The Decemberists, there's nobody I'm particularly fond of. To be perfectly honest, a lot of them I've never even heard of. This says more about my own limitations than it does about the quality of these artists.

Of late Nick slipped Beach House in on us and I genuinely enjoyed that, so there's still hope for me. Thanks for opening my ears, Axo!

With Beirut in the center, this looks like a map of the Mediterranean Sea and environs.

I would expect to see Alan Hovhaness up in the northeast corner.

 

[Zeeba Neighba]

Listened again last night - I'm not a tremendous indie fan but, as with music in general, sometimes a sound just grabs you. Elegant, quiet, beautiful. Love the use of the brass here. The title track in particular gets me every time - simple, short lyrics but so effective at evoking sadness,despair and yet, again, so beautiful.

 

[Zeeba Neighba]

View attachment 3170

I can definitely see why folks like this album artistically but was having trouble relating to it personally. So I decided to take a look at the Music Map for Beirut. Now I can easily see why Beirut doesn't really ring any bells. With the exception of Tom Waits (what's HE doing here? ) and The Decemberists, there's nobody I'm particularly fond of. To be perfectly honest, a lot of them I've never even heard of. This says more about my own limitations than it does about the quality of these artists.

Of late Nick slipped Beach House in on us and I genuinely enjoyed that, so there's still hope for me. Thanks for opening my ears, Axo!

Thank you, Sam, for reminding me about Music Map - such a fun site. Connections they find to Beirut all over the place - always interesting at bringing up so names though not always an indication of how one might like a group. Closest artists are Sufjan Stevens and Animal Collective - I can see why, but I'm not a huge fan of either sound. I do like The Decemberists and Edward Sharpe though I'm not fully sure if you asked me "Hey who does Beirut sound like" I'd come up with either right away.
Still you've probably triggered a day of wasted time as I type in artists into the site

 

[Old Uncle Toe]

View attachment 3170

I can definitely see why folks like this album artistically but was having trouble relating to it personally. So I decided to take a look at the Music Map for Beirut. Now I can easily see why Beirut doesn't really ring any bells. With the exception of Tom Waits (what's HE doing here? ) and The Decemberists, there's nobody I'm particularly fond of. To be perfectly honest, a lot of them I've never even heard of. This says more about my own limitations than it does about the quality of these artists.

Of late Nick slipped Beach House in on us and I genuinely enjoyed that, so there's still hope for me. Thanks for opening my ears, Axo!

I don't know exactly how the Music Map site works, so I don't know if the fact that St. Vincent is in there twice is a bug or has some significance. That said, I can't see any connection between herself and Beirut. I should probably look at the site in person before I make comments though. Oops.

I love Beirut, ever since my daughter played me his first album -- back in the Lala days, I think it was. When I was up visiting her a month or two ago, I played his new album in the car. She hadn't heard it yet. We enjoyed it together.

As fond as I am of Zach's music, I don't know that I've ever listened to this album. If so, only in passing. I'm looking forward to it!

 

[Nickyboy]

Based on some of the names on the Music Map, I was looking forward to hearing this album. My first impression was "this guy spent a lot of time listening to Belle & Sebastian's "The Life Pursuit", which I still like. It felt to me like he was trying to emulate and evoke that album the whole time. But he did it without the verve and fun. His vocal delivery reminds me of The Magnetic Fields. His almost deadpan vocal delivery with off-key glissandos is supposed to be a hallmark of indie performers, I guess, but it just sounded....lazy, to me. And when he double-tracks his voice, it sounds doubly lazy and annoying. The brass sections were an interesting addition, but it sounded to me like he paid a second-rate Salvation Army brass band to come and be his horn section.
I will give this a spin a few times more to see if it grows on me (not like mold, though). But for now, I have to give it

 

[Old Uncle Toe]

I think Beirut has a divisive sound. If you like it, you like it. If you don't now, you never will. While I feel a little bad for Zach that he doesn't experiment a little more, it comforts me that he has his signature sound and sticks with it. Because I like it. And I don't know what other bands make music like this.

I enjoyed this album. I like the post-war Balkan Brass Band sound of his horns. I like the way he mixes it with more modern piano and drums. His vocals are unusual, even a little weird. But in their awkwardness, seem to fit the sound he's creating.

I'll admit that one Beirut album is not that distinct from another. (March of the Zapotec excepted.) I think he's progressed a little. There's some nice layering of the sounds in this. And again, even though his voice is a bit awkward I appreciate that he's overdubbing harmonies. He's doing what he can with what he has.

The brass sections were an interesting addition, but it sounded to me like he paid a second-rate Salvation Army brass band to come and be his horn section.

I agree but kind of liked that about the horns. It gives it a humble, informal sound. Memphis horns are sharp, but they're energetic. It takes energy *from* me to listen to them. These horn arrangements and performances are relaxed, almost lazy, which makes them relaxing to listen to.

I enjoyed this album, but again I admit it's a niche. I like this album as much as any other Beirut album. (Again, March of the Zapotec is a stretch.) I listen to Beirut from time to time, just for a change from my more modern listening. This album has its place in that rotation. I'm glad it was chosen this time, as I don't think I'd paid proper attention to it.

If you're incredibly bored, my listening notes are in the spoiler.

Spoiler: A trickle of consciousness

• A Candle Fire – accordion or something like that to start. Horns kick in. I like them. Lots of horns! Overdub? That’s a lot of overdub. Kind of like the South Park of overdubbing. Thoughts on Zach’s singing: Yes, it is an acquired taste. As I mentioned, my daughter and I listened to this. She loves his voice. For me, it’s just appropriately awkward to go with the post-war sound he leans toward. So it’s not so much I like it that I think it fits in the register. Wait, even more horns?
• Santa Fe. Wait, is this the same song? What is that keyboard emulating in the intro? While not barren, this song is so much less overproduced than the previous one. Oh, wait, there are the horns kicking in. I thought he might try a song without. No matter, they’re typical for Beirut and decent enough. And there they go, disappearing and all that’s left is a drum beat and very sparse piano chords. He has a sense of dynamics. I keep checking my headphone cable that it’s plugged all the way in. Why is the drum beat so prevalent and overwhelming the vocal track?
• East Harlem. I like that this has a different tempo. That instrument sounds like a keyboard set to emulate, what, a balalaika? Maybe it’s just a simultaneous drum strike and piano chord followed by an acoustic guitar strum. Whatever, no need to focus on… oh, there’s the horns again! But just a short fill. I wish Nickyboy hadn’t brought up his voice. It really is weird and I can’t unhear it now. I do like a horn section. Must be part of what I like about this band so much. I like the gentle dynamics of the horn set in the break. Later, they sound more like a wet Memphis horn section. Not bad, just different. And nice that they’re just doing accents, not in front of the music.
• Goshen. Plaintive piano start. I like that. I like that he records his own harmonies. It seems humble rather than egotistical. “I don’t really have a lot of friends and none that can sing, so I overdubbed my vocals with my harmonies.” It’s nice that this one builds up a bit. It might get a little boring if it stayed just piano and vox. I’m not sure what he’s singing about. The lyrics don’t really resolve themselves, don’t have a punch line.
• Payne’s Bay. Ah, the Bulgarian Army Horn Section is back for another concert by the seaside! Kidding aside, I kind of like this. I don’t really know why.
• The Rip Tide. The piano is back! And a sequencer! And it’s gone. Horns are less post-war here, almost like a string section. Interesting. Reminds me of the soundtrack for the ending credits a some kind of spy movie where the hero and the girl are safe, the camera pans back, and back, and back…
• Vagabond -- Zach Condon does a dance beat. Kind of quirky. I don’t hate it. And then the keyboard kicks into calliope mode. Somebody was high.
• The Peacock. Intro is over half the song. More voices kick in. And then it goes nowhere! Interesting ploy to build suspense and anticipation and leave the listener off at a dead end. Hey, it’s art.
• Port of Call. Guitar with capo or mandolin? Autoharp? Glockenspiel makes a cameo. Piano kicks in. Nice whirl of guitar and piano.