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Beirut, "The Flying Cup Club"

Orchestral pop's wunderkind turns his attention from the Balkans to France

By Jeff Weiss, Special to Metromix

October 8, 2007

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Backstory: Beirut’s Balkan-flavored “Gulag Orkestrar” arrived last year in a maelstrom of blog hype, a buzz so deafening and feverish that it seemed irresponsible, save for the fact that it was warranted. Despite not being old enough to drink, multi-instrumentalist mastermind Zach Condon delivered a stunning and frighteningly mature debut, inspired by a tour of Eastern Europe on which he encountered the mournful music of old world brass bands.

Why you should care: Condon isn’t just some buzz-inflated prodigy with a clever gimmick—he’s one of the most talented musicians to emerge in this decade. Blessed with a world-weary and wonderful voice, Condon’s deep, extraterrestrial baritone belies his youth (he just turned 21 this year).

Verdict: Condon claims that the inspiration for his new record’s sound was inspired by “Jacques Brel and French chanson music—pop songs shrouded in big, glorious, over-the-top arrangements and all this drama.” Accordingly, it incorporates French horns, euphoniums, accordions and organs, rather than the trumpets and ukulele of “Gulag.” The result is a stunning record that should quash all talk of Beirut being a one-record wonder. In a year when more ballyhooed bands have delivered disappointing second records, Beirut is one of the few to avoid the sophomore slump.  

X-Factor: In addition to Beirut’s entire seven-piece live band, the record also features string arrangements courtesy of Owen Pallett (Final Fantasy/Arcade Fire) and violin and viola from Heather Trost (A Hawk and a Hacksaw).