different from usual - but actually exactly as you would expect from him.

Today I was excited, because I knew the new Beirut album would come in the mail, and since it was taken from the outset that Zach Condon and his cronies (in "The March of The Zapotec" it is among other things the young Mexican Brass Band should have been far more adventurous this time "Jimenez"), mingled with my anticipation, a certain tension added; I was now particularly keen to find out if Condon was in the process remained true to his roots so lovable.
So much can be revealed: he dared quite a jump - without having lost his balance; both in the present, as well as into the past, because with "Real People: Holland" He's a bit like 80s / 90s disco ("My Wife, Lost in the Wild") and pop music and is still so much more sophisticated and created with the "A Sunday Smile" - Reprise "No Dice" something like "Gypsy House". Especially "My Night With The Prostitute From Marseille" has with its Nintendo Core overbearing Melodieostinato something so lovely in itself, that it is impossible not would like to hear. With the "Venice" dreamy and poetic Condon remembers turn to post-rock greats like Boards of Canada, without losing sight of its own size - and without that would stand out from the previous song unnaturally.
The EP "The March of The Zapotec" reminds a lot more like "Gulag Orkestar", but not without the familiar accordion, Brass- and Ukulelenklänge to bring a little more profound translucent level. "The Ankara" as Balkanpop-funeral march as well as "On A Bayonet" effect experienced, ergründeter as for example "A Scenic World"; the then 19-year-old seems to be a piece become secular on this EP, with it a while listening to the 2nd EP: will appear as if a native of the US state of New Mexico teens reawakened in him and experimented "Real People Holland" Home with organ, keyboard and a lot of grandiose ideas in domestic bedrooms around.
The combination of both is certainly succeeded and the usual energy that bear his earlier songs in itself, is also here clearly noticeable.
This double-EP can not be compared with the two predecessors; but it nevertheless fits into the "scheme" of worldly Condon, the fact can not be set to any particular scheme and perhaps grade would therefore be an indispensable part of the independent and Balkan Revival scene.