Beirut: The Rip Tide

Label: Pompeii

The long-awaited (it really means something this time!) new album from Zach Condon and his co-conspirators is a joyously stately affair. That said, the sound of Beirut is so unique that no one would be expecting a significant change on The Rip Tide, and other than a more distinct nod toward pop (really just some more upbeat songs), little change is found. On the contrary, this album is a 33-minute restatement of purpose, with every single wheel and sprocket in the Beirut machinery well-oiled and operating to perfection. With apologies to Bon Iver, is this not the pre-eminent sound of indie-romantics today? A pump-organ opens the record, as "A Candle's Fire" leaps into play, a light-as-air yet fully orchestrated (horns, accordion, Sharon Van Etten!) instant classic that seems to trace the beat of your heart. "Santa Fe" has the miniature-electronics feel of certain Magnetic Fields songs, at least until the (human) drums enters and subsume the repeating synth-strikes. "Goshen" almost weeps with emotion, Condon's piano and the horns twining with his unmistakable vocals to stirring effect. We'll also single out "Payne's Bay," not because it can be waltzed to (most of Condon's songs can) but because we think everything's better with Sharon Van Etten pitching in, and "Vagabond," which snazzes up the rhythm even more (we're not sure how we'd dance to this one) and even swings, in the traditional sense. A soft, lush ripper from one of indiedom's most talented artists! (Deluxe CD features cloth-bound cover.)