Chimpomatic

Beirut’s Gulag Orkestar was a critical success that slowly gained popularity by word of mouth. Zach Condon’s first album was, as is often noted, recorded at his parents house when he was all of nineteen. Beirut is no longer a one man band - he has since collected a group of musicians to tour and record, first the Lon Gisland EP and now the new album - The Flying Club Cup.

The first album featured no guitars. Violins, trumpets, piano and ukulele were used to produce a traditional Balkan sound. It was Zach’s melancholic, sombre singing which gave Beirut an added sophistication, making the East European sound more digestible to the average listener.

The Flying Club Cup is very much more of the same, which for me is the problem. Opening song A Call To Arms is very reminiscent of Black's Wonderful Life. The comparison is not an insult or a compliment but does represent the reflective mood of the song and the album as a whole. It is the continuation of this tone throughout that frustrates me. Zach Condon's voice does not have enough expression to allow distinction or variation to make many of the thirteen tracks memorable. The Penalty is the exception, with a lovely accordion backing a restrained and expressive performance. This allows the music to sound complete and not a sullen teenage boy singing with his dad’s band. The Flying Club Cup never picks up from this point and continues to slowly deflate by the end.

The only time I can fully appreciate Beirut is when I listen to one or maybe two songs consecutively. I also struggled to hear the French influence (culture, history, fashion) which The Flying Club Cup is supposedly inspired by. This could be one album too many from Beirut if they have to state progression rather than been able to expand on their sound. If I were reviewing a single (with a b side) there would be more praise, but maybe in time (and as I grow old) my opinion will change.