T E M P (O)
T E M P (O)
EP: Beirut – Realpeople Holland
words: Jamie Milton
read our review of the first half of the double-EP
Realpeople always had its electronic roots. But it’s also remained strikingly childish. When Zach Condon left school at 16 to pursue this cliché European dream of his, the first musical note he made was on his keyboard.
This second EP feels like it’s been a work in progress for some time. ‘Venice’ at least, has been available to listen to for some time and even in this final mastered version, you still hear noticable differences between that and say, the more up-tempo, modern sounding closer to the EP, ‘No Dice’. What’s been suggested by this double-EP release is that the release in itself has little to be serious about. The first half took much more effort, organisation and commitment but ironically the second half produces the goods.
It’s the sound of a man on his travels, for Condon has been on his travels since 16. Whilst his associated sonic contrastingly lies comfortably next to horns and brass instruments, this smooth, silky pseudonym is a get-away from all the serious business. The instrumental ‘No Dice’ is evidence exactly for that. It’s not a sign that Zach Condon is some troubled genius, it’s just a bit of fun. The only track that clearly sets itself out as something with more intent is ‘The Concubine’, a less electronic, more evolving work that commences with the trademark accordion but closes with a synth. It still sounds like a home recording, something done in privacy and without interruption. But it can be closely knitted together with more quintessential Beirut works, therefore making it the least unusual but most likeable track on the whole EP.
It’s almost as if these works, previously for the man’s own satisfaction, have been thrown in by Condon to throw in a separate sphere to his musical-personality, with the purpose of shifting focus and gaining a bit of space from the dramatic, full-band efforts he’s become so renowned for.
7.8
mp3: Beirut – The Concubine (zshare)
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