Beirut: Gulag Orkestar | NPR MUSIC FRONT ROW
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- čas přidán 28. 09. 2015
- How does a band return from a recording hiatus that could have permanently displaced it from the audience's eye? If you are Zach Condon and Beirut, you just go about your business and pick up where you left off three years earlier. The group's First Listen Live show at Brooklyn's intimate Bell House on a rainy September night, a concert debuting many of the songs from the brand new No No No, its first album since 2011, showed that Beirut works through its obstacles. Maybe it helps when the initial idea behind a band is ahead of the curve to begin with, no?
When Condon's Beirut first came to prominence in 2006, it emerged from Santa Fe with a fully conceived, pan-global folk sound unlike any indie sensibilities popular on the day. Zach's trumpet and flugelhorn playing was informed by local Mexican mariachi horns, his engagement with the Roma brass bands of the Balkans, and modal jazz changes via a percolating bossa nova; he favored timeless instruments (ukuleles, accordions) and images, to the rush of the modern; and the songs his quavering tenor delivered, also traveled the old continents. Live, the group grew into a formidable sextet, heavy on keyboards, horns and harmony, a world onto themselves.
At the Bell House, Beirut ran down its entire career before a sold-out audience, and the songs from No No No, the band's fourth studio, fit snuggly alongside the older material, even as it heralded directions new and familiar. "Perth," for instance, featured a touch of the Memphis soul energy, with Ben Lanz's trombone adding a brassy bump; "Fener," a song about a neighborhood in Istanbul, is built around the motorik beat interplay between Aaron Arntz's keyboards and Nick Petree's drums, before dropping down into a great g-funk slink, guided by Condon's Moog. So seemingly apart from Beirut's musical environment, yet, here they were, a natural part of it, making the audience sway endlessly. The hiatus, it seems, simply made full hearts grow fonder. -- PIOTR ORLOV
Director: Mito Habe-Evans; Producer: Saidah Blount; Videographers: Mito Habe-Evans, Lani Milton, Christopher Farber, A.J. Wilhelm; Audio Engineers: Josh Rogosin; Special Thanks: The Bell House; Executive Producer: Anya Grundmann - Hudba
The flugelhorn in the beginning is the one sound that can instantly make me cry from the deepest part of myself. I have no clue if it's ancestral or a past life thing or if Beirut is just that good.
Socrates once said ..."add any horn to any band and it's immediately made better."
This sent shivers down my spine! What a performance!
One of my favorite songs...glad I snatched this CD from my roommate 😅🤥
Haunting. Thanks for uploading.
Parece uma marcha rumo a vitória, depois de lutas travadas (filmes) algo assim, é arrepiante e adoro isso.
Разрыв сердца
Ouço, sempre! Meus amores😍😍😍
Watching this year, 2019
Ağlayacağım mükemmel
Plena cuarentena escuchando esta belleza
keep safe, Oliver! I'm in MIlan, Italy and averything is coming back!
Beautiful
Nunca enjôo ❤
Uma música dessa bixo
AVE MARIA AAAA
Quite spectecular
Minha banda favorita- My Favourite Band
🧡
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what type of horn does he play ?
How sad to see how a band looses its soul
You mean Zach going into more electronic stuff?
That's how he started. That's why we have Holland, the second EP of March of the Zapotec.
I can't deny his latest two albums haven't been heavy on folk, but you still get as much Beirut as you would with any other album.
@@Bafael_Reyna I dont agree with you. Beirut looses alot of his
characteristics
@@HugoCorreaa but you cant do the same record over and over again. Life goes on and you changed. You evolve. You might not like the new album but that doesn't mean that they loose their soul. I think
Any decent artist grows and evolves. I appreciate that, even if I don't personally care for the new direction. That said, I do enjoy all of Beirut's music.
@@HugoCorreaa them don't listen anymore. Listen to a band that makes the same music over and over again
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❤