This past August brought Beirut’s third full-length album, “The Rip Tide,” which is a collection of songs that is nothing short of spectacular.
Since its first album release in 2006, the band has been one to watch – or rather, listen to.
Zach Condon, Beirut’s multifaceted lead vocalist, has certainly found his niche pairing Balkan folk overtones with potent, unforgettable lyrics. His band comprises a vast assortment of musical talent by seamlessly integrating accordion, euphonium, and ukulele. This wide range is, in all senses of the word, instrumental in creating Beirut’s distinctive sound.
“The Rip Tide” open with “A Candle’s Fire,” in which a single accordion suddenly blooms into a full-fledged symphony of horns that immediately sets the bar high. Accented percussion is peppered throughout, confidently announcing the band’s presence.
The album then spirals into “Santa Fe,” a high point in the track listing that permeates the ears with its catchy, pop-infused melody. This song beautifully exemplifies the kinds of layered harmonies faithful listeners have come to expect.
“East Harlem” continues where “Santa Fe” left off, transitioning with unrelenting rhythm. “Goshen” then slows the pace and adds a touch of melancholy to round out the tone of the album. A more tender side of Condon’s vocals is showcased here, while a background of subdued horns and snare drum make the song sound deliberate and polished.
A chorus of strings opens “Payne’s Bay,” subsequently transforming it into more of a march, complete with characteristic tuba tones. “Headstrong; today I’ve been headstrong,” croons Condon, his voice flourishing while complemented by a strategically placed trumpet.
Next, the title track delivers with its hauntingly nostalgic strains of piano and brass. Lyrics such as, “This is the house where I could be unknown,” float above the instruments.
“Vagabond” begins with a piano melody that seems simultaneously brand new and comfortably familiar. At its center is an intricately pieced cadenza that invites layered percussion and vocals, culminating in a powerful finish.
The album’s penultimate track, “The Peacock,” remains softer and more restrained. It opts for a minimalist approach, and yet its choral arrangement allows it to shine. If the album had a sing-along track, this would be it.
“Port of Call” rounds out the short track listing. It begins slowly, but steadily escalates into a last fanfare, worthy of concluding Beirut’s newest melodic voyage.
At only 33 minutes in length, “The Rip Tide” is a mere glimpse of an album. Each song is marked with an energy and flair that makes it, wholly and unmistakably, Beirut.
Lindsey Tulloch can be reached at [email protected].
