I refer to the post about the song No No No for some background. This album grows on me with every listen. It's not heralded by many reviewers compared to other Beirut albums. Some are turned off by the length (only 29 minutes), some by the minimalism-less orchestration of past albums. These are actually reasons to love it for me. Zach Condon doesn't need to lengthen these songs to 5-6 minutes -they are what they are and when he feels it's done it's done. This band is so hard to define, classical folk with a world music twist. His voice and tone remind me of Jens Lekman the Nordic humorous crooner, but Condon's music is much more thought out, there's an independent uniqueness maybe cross Lehman with a band like Gogol Bordello (shout out to Nick-just wanted to work in a Gogol Bordello reference though I've heard them maybe twice.) Piano, drum, a little bass sparse chamber horns- that's pretty much it. Courtney Barnett weighing in at #3 shares 100% of her thoughts into her lyrics, Condon-not so much, maybe 10% of his thoughts are in the words, but he is expressing himself 100% through the music. In between the lush harmonies the space if filled warmly via the sound. Apparently Condon has had writers block, a divorce, and had some physical problems in last year, so he's 180 degrees from Jason Isbell place in karma and both were able to create beautiful songs and get there through their own path.
Gibralter
Jens Lekman
Gogol Bordello
Maybe?
The more unassuming a song appears on this album the more attracted I feel to the music.
Romani Everybody
August Holland