Despite all rumors to the contrary, Beirut is American. That is to
say, New Mexico native Zach Condon (now based in Brooklyn) doesn't
hail from Eastern Europe, Western Europe, the Middle East, Mexico, or
any of the other cultures whose music he has incorporated into his
band's unique sound. But that fact doesn't make the fusion of these
influences any less mesmerizing, especially when strung together under
the operatic umbrella of Condon's vocals.

In live performance, Condon might be playing ukulele or he might be
playing trumpet. He may be accompanied by a horn section or a drummer
beating on trash can lids. Beirut's music could easily be accompanied
by acrobats swinging from the rafters or the focus of attention might
be the string section seated to one side of the stage. If it's
theatrical, it won't be out of place at a Beirut show.

A Beirut song might evoke a carnival one minute and a mournful dirge
the next, but this is no accident. A trip to Oaxaca and a
collaboration with a local funeral band yielded Beirut's recent album,
March of the Zapotec. Mexican horns may define the latest release's
sound, but the earlier album Flying Club Cup was heavily influenced by
French music, while the group's debut album Gulag Orkestar (2006)
exhibits traces of Balkan folk music.

Already, Beirut has romanced many with its folk-gypsy allure. Safe to
say that if Zach Condon is making this many waves at age 23, his band
has a bright future ahead. JOELLE JAFFE