9-December 2011
BEIRUT
CONFIRMED FOR FIELD DAY FESTIVAL 2012
 
 
"songs that turn large crowds of adults into excitable, jibbering kids" The Guardian
 
“Triumphant” Q Magazine
 
BEIRUT - who released their acclaimed THE RIPTIDE earlier this year are amongst the early confirmations for 2012's Field Day Festival, at London's Victoria Park on 2nd June.

 
Beirut leader Zach Condon’s music is often synonymous with the exotic mysteries of world travel. Since Beirut’s last album, 2007’s The Flying Club Cup, sang a love letter to France (with a 2009 stop-off in Mexico for the March of the Zapotec EP) many have asked where his songs would voyage next. Lots of guesses, but few predicted the inward journey Condon has achieved on The Rip Tide, an album with the most introspective and memorable songs of his young career.
Recorded in Upstate New York, Brooklyn and, of course, Condon’s hometowns of Albuquerque and Santa Fe, The Rip Tide marks a distinct leaping off point for Beirut. Musically, songs have a harmonic immediacy that contrasts the complexities of Zapotec’s Mexican full orchestra compositions. These songs started as small melodies, conceived on piano or ukulele, then built upon by the entire band’s contributions in the studio, before undergoing a paring down and retrofitting by Condon. What results is a record that sounds like it could have been recorded in one session, with exciting rhythms matching the upbeat horns and contrasting the mournful strings. In terms of style, no direct geographical affiliation to be exhumed. Rather, what emerges is a style that belongs uniquely and distinctly to Beirut, one that has actually been there all along.
 
Lyrically, Condon exposes a depth of honesty that outstrips the simplified nomadic troubadour image of his past. The songs speak of love, friendship, isolation and community, touching on universal human themes that are less fabricated stories than impressions of life at a quarter century of age. Songs are no longer about imagining places you haven’t been; they’re about places of which we are all extremely familiar, some of them too familiar.
 
“… his most rewarding effort to date” The Sun

 
 
Full Tracklisting:
01 A Candle's Fire
02 Santa Fe
03 East Harlem
04 Goshen
05 Payne's Bay
06 The Rip Tide
07 Vagabond
08 The Peacock
09 Port of Call
"casually allowing his 'exotic' influences to tumble out of an artfully battered satchel…" **** Mojo
        
"welcome evolution of Beirut from bedroom fantasy to real world concern... their most accessible record yet." **** Uncut
 
"Wonderful" Time Out
 
“Triumphant” Q Magazine

This dramatic shift expands Beirut’s palate without weighing the music down. Condon has coated serious lyrics with his greatest tunes ever. The second track, “Santa Fe,” is the best pop song he has yet written, a jumpy ode to the town of his youth, and an early sign that The Rip Tide is all about the staycation. Of particular note is “Goshen,” a torch song that wraps itself in Condon’s delicate piano phrases at a level of intimacy never heard before on a Beirut song.
 
The album is on Pompeii Records (via Forte Distribution in the UK), a label started and wholly owned by Condon.  Pompeii is a fully independent, artist run, label and it is releasing The Rip Tideinternationally. This extreme level of creative control is what the band has always preferred. Shows often sell-out because they choose to play smaller, more intimate venues. This connection directly to fans extends to The Rip Tide release itself, the desire to be able to 100% decide what their music will sound, look, and feel like, not to mention how it can be obtained.
 
Griffin Rodriguez’s production is, once again, immaculate. The performances of the band – Perrin Cloutier on accordion, Paul Collins on bass, Ben Lanz on trombone, Nick Petree on drums, andKelly Pratt on horns – are spot-on. With contributions by such esteemed colleagues as violinistHeather Trost (A Hawk and a Hacksaw) and Sharon Van EttenThe Rip Tide reveals greater levels the more you explore. And you don’t even have to travel very far.
 
 
“Using instruments as varied as accordion, ukulele, trombone and euphonium, its nine songs have echoes of devotional gospel and ragtime, hints of Wolf and Waits and melodies you feel as if you’ve known for ever….” Independent on Sunday
 
“An engrossing and full-flavoured voyage” The Mirror
 
“compelling” The Observer
 
“.. his most compelling offering yet…. approaching perfection….” The Times

FOR MORE INFORMATION:

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