Beirut certainly takes a few risks while retaining their signature sound. "Gallipoli" holds up for the true fans but is flatter in comparison with their previous material.
Gallipoli is a small island off the coast of Southern Italy. It's certainly an area that's familiar to Zach Condon, an area where he recorded part of his brand new record. Condon is the singer, songwriter and all-around leading mind behind the band Beirut. Several albums under their belt, the band contains lavish and often adventurous indie pop, Condon's swooning voice, with the horns and organs being the main focal point of their style. The style is very rich and harks to Eastern horn and brass music. The band has been captivating, mostly on their earlier work, but I'll admit that I haven't been excited for a Beirut release since The Rip Tide back in 2011. The band has made some solid singles supporting their last album, No No No, but it certainly lacked the strength in the songs themselves and was way too short of an LP (29 minutes to be exact). Condon continues with his signature style on Gallipoli, the band's fifth studio album. He started using this particular organ again that he used on his first two albums (Gulag Orkestar and The Flying Club Cup), which fans of the older material should be happy about. The band takes a few risks and stylistic shifts along the way while retaining their signature sound.
Gallipoli itself is longer than No No No, containing 12 songs at 44 minutes, which is a definite plus. Condon still uses his croon on the record, but doesn't seem to have as much lyrical content or as much emotion like he usually does. He often will harmonize and will make more sounds than words, and lets the instrumentals and structures themselves be the primary selling point. I'm not so sure if this is the best decision for Beirut, but the majority of the songs themselves are compelling enough to come back to. The introduction track, "When I Die," is arguably the album's best song. Containing a driving kick-drum and memorable horn melody, it's certainly the most fiery Condon has been in a while. The title track and "Family Curse" are the two songs with the most emotion expressed throughout the instrumentals themselves, even though the singing isn't as notable. They are intense and epic, especially the latter of the two.
The organized and pleasant "Varieties of Exile" has the classic ukulele chords and tropical beat, reminding of the sunnier "Santa Fe." Even though "Landslide" has the most basic keys being used through the entire song, I can't help but love the harmonies and melodies Condon is singing about and is one of the few lyrical pleasures on here. I did say that Beirut does takes a few risks here. "Corfu" is the first, being an instrumental full of intense strings, guitars and drum machines. It's exquisite, charming and is an unexpected turn from Condon. It's the shrillest song they've produced and sounds like a futuristic Pet Sounds. Another change-up is "We Never Lived Here" which has this hollow, dark synth pattern and dramatic horn sections attached to it, along with choppy, glitchy drums. "Light In the Atoll" retains Condon's dramatic vocal range and memorable instrumental passages.
Sure, Gallipoli is better than the last album, but doesn't have the punch, the drive, or the emotion that we've come to expect from Beirut. I'll say that it's definitely passable and fans will find redeemable songs on here, but Condon needs that spark or something? Like I mentioned before, the passionate lyrics aren't here and there is a lack of fully fleshed out songs that both contain memorable hooks and memorable melodies together. We often get songs that either have one or the other it seems. Gallipoli holds up for true fans, but is flatter than Condon's previous material.
My Rating: 7 / 10
Favorite Songs: "When I Die," "Landslide," "Corfu," "Gallipoli"
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