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On 'Gallipoli', Beirut returns to the rawness and naivety of his earlier albums

Zach Condon is reverting back to a tried and trusted method.

On Gallipoli, indie Mariachi enigma Beirut returns to the quaint, nerdy gypsy “emo” that made him a Pitchfork darling a decade ago. Gallipoli sees Beirut’s songwriter, singer and multi-instrumentalist Zach Condon abandon the more focused and production-heavy sound of his previous two albums The Riptide (2011) and No No No (2015). It seems for Condon that the penny has finally dropped, that the naivety and rawness of his low budget first album represented a realness and authenticity that fans latched onto. 

Gallipolli’s title track shares much in common with the songs from Beirut’s 2007 masterpiece The Flying Club Cup, particularly ‘Nantes’ and ‘Clique’. It opens with a trumpet and flugelhorn waltzing over the top of a vintage organ sound as Condon’s rich tenor opines “You’re so fair to behold/What will be left when you are gone?”.

The return to the 'naïve gypsy orchestra at a wedding' aesthetic of the album was a very conscious one by Condon. He explains in an 800 word essay on the band’s website that ‘Gallipoli’, and the run of songs that followed to become the album, was inspired when he had his parents transport the classic Italian Farfisa organ he had written the first two albums on from his childhood bedroom to his New York studio.

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