Zach Condon's music often parallels the exotic mysteries of world travel. Since Beirut's last album, 2007's The Flying Club Cup, sang a love-letter to France (with a 2009 stop-off in Mexico for the March of the Zapotec EP), many asked where his songs would voyage next, but few predicted the inward journey Condon takes on The Rip Tide, an album with the most introspective and memorable songs of his young career. Recorded in Upstate New York, Brooklyn and, of course, Condon's hometowns of Albuquerque and Santa Fe, The Rip Tide marks a distinct leaping-off point for Beirut. Beginning life as small melodies conceived on piano or ukulele, the songs were built upon by the entire band in the studio before Condon's paring down and retrofitting. The results sound like they were recorded in a single session, with exciting rhythms matching the upbeat horns and contrasting the mournful strings. No direct geographical affiliation was exhumed; rather, the style that emerges belongs uniquely and distinctly to Beirut-one that has been hinted at all along.

Since its release in May of 2006, Beirut's internationally celebrated Gulag Orkestar album has soundscanned more than 45,000 copies, and the band has done a tsunami of interviews, photoshoots and features (including NY Times, Spin, Pitchfork, Urb, and Village Voice). This great fervor developed around an album conceived and constructed in a teenager's New Mexico bedroom. Six months of recording has led to The Flying Club Cup, an homage to France's culture, fashion, history, and music. Two years ago, Zach Condon immersed himself in Balkan folk, absorbed sounds, scales, styles, and the sonic joys of a skeletally structured, cacophonic ensemble - and moved west. Soaking up the likes of Francois Hardy, Charles Aznavour, and, most notably, Jacques Brel (a huge influence on both Scott Walker and Mark E. Smith), Condon has been articulating his conversational French. Most of the album was created at a nondescript Albuquerque office space, a.k.a. A Hawk and a Hacksaw's practice room; Heather Trost plays violin and viola on three songs. Engineering and production assistance came from Griffin Rodriguez (A Hawk and a Hacksaw, Man Man). He helped separate the many instrumentalists involved in recording, as opposed to Gulag's largely solo flight. The orkestar, which has solidified into a core group of eight members, has grand plans for replicating the album live, and is now an integral part of Beirut's identity. Additional recording was done with Owen Pallet (Final Fantasy) at the Masonic church studio owned by The Arcade Fire. Within the spectacle and intimacy of The Flying Club Cup, you can hear a love letter to the joie de vivre that defines our existence. Listen closer, and you also hear the emergence of a singular musical talent - Mr. Zachary F. Condon, at present living in Paris - unbounded by cultural borders and by where his heart travels.

While it may sound like an entire Balkan gypsy orchestra playing modern songs as mournful ballads and upbeat marches, Beirut s first album, Gulag Orkestar, is actually the work of 19-year-old Albuquerque native Zach Condon, with an assist from Jeremy Barnes (Neutral Milk Hotel, A Hawk and a Hacksaw). There are no guitars on this album; instead, horns, violins, cellos, ukuleles, mandolins, glockenspiel, drums, tambourines, congas, organs, pianos, clarinets and accordions all build and break around Condon s deep-voiced crooner vocals, swaying to the Eastern European beats like a drunken twelve-member carnival band. Though young, Condon has already recorded several albums of astonishing diversity. He recorded under the name Real People when he was fifteen, crafting an electronic record inspired by his love of the Magnetic Fields. At sixteen, he recorded an entire doo-wop album that sounds a bit like like Frankie and the Teenagers. Although he was a straight-A student, in 2002 Condon dropped out of school to travel Europe, cavorting and partying with the locals wherever he went. During one of these evenings that he was first exposed to Balkan gypsy music, blasting from an upstairs apartment. Condon went to investigate, and stayed up all night with a Serbian artist, going through albums country by country, note for note. Gulag Orkestar is the direct result of what he learned that night. This past winter, Condon headed to Sea Side Studios in Brooklyn s Park Slope where, along with Barnes and A Hawk and a Hacksaw s Heather Trost, he added percussion and violin overdubs to his original compositions. The resulting record sounds like a Neutral Milk Hotel from behind the iron curtain (for those playing along at home, look into the Boban Markovic Orchestra). Gulag Orkestar is a glorious sweep of music, striking in its emotional content and stunning in its scope.

The sleeper hit of 2006, Beirut's Gulag Orkestar came out of nowhere to sell tens of thousands of copies in a matter of months and wound up on countless critics' year-end lists. As a stopgap before recording a new full-length in Fall 2007 -- and as a way to capture some current songs being performed at shows -- the eight-member band checked into Sea Side Studios in Brooklyn to record Lon Gisland.

These are the first studio recordings made by the entire group, and a sampling of the most recent songs by orkestar leader Zach Condon. Lon Gisland features four new tunes and a full band reworking of Gulag's "Scenic World." The five-song EP was initially released with the European edition of Gulag Orkestar (4AD) and as a limited edition, one-sided vinyl 12-inch by Chouette. The Ba Da Bing edition is in a highly collectible digipak format.

For the past year, Beirut has alternated between touring in support of 2007's much-lauded The Flying Club Cup and writing a wealth of new material. With no sense of a release in mind, bandleader Zach Condon recorded in any style that struck his fancy. Some early discussions about recording material for a film being shot in Mexico morphed into a new idea: What about finding a local band in a small city in Mexico, hiring them to play some new material, and recording the result? It was a sincere challenge every step of the way. Condon had to find the band, which he did through a bandmate's mother who has connections in Oaxaca. To communicate with the performers, he hired a translator, who had to be able to speak English, Spanish, as well as Zapotec, the band members' native language. From there, he flew down to Oaxaca, traveling a half-hour out of town to the tiny weaver village of Teotitlan del Valle, where he met the nineteen members of The Jimenez Band. The ensuing weeks of recording, rewriting, and relating are documented in a series of short films (to be released online as the release date for March of the Zapotec draws near). All well and good, but the six songs found on March of the Zapotec are only a part of what this release has become. Before recording as Beirut, Condon went by Realpeople for his bedroom recordings, and he has revived the name for the second half in this collection, Holland. As opposed to March of the Zapotec, Holland collects a series of songs conceived and completed at home. One song, "Venice," appeared on a compilation by The Believer magazine, while "My Night with the Prostitute from Marseille" was on the Big Change digital-only charity compilation on iTunes. Together, this album-length double release represents the totality of Condon's work over the past year. March of the Zapotec is further testament toward the inventiveness and intimacy he creates as Beirut, a band which started as one person sounding like twelve, and has developed into a particular style and sound. No matter what inspirations jumpstart any one particular song, underlying it all is the realization that Condon is a singular artist creating an original sound. What may appear at first to be two disparate paths are in reality joined by Condon's ability to craft simple melodies that sound both unique and unforgettable. It would be a misconception for Beirut's sound to be considered a dabble in various styles, folk sounds, and music histories, because one could never confuse Condon's music for the original inspiration; all his songs on this release carry more in common with each other than they do their original source of inspiration. And whether he's being inspired by Balkan folk, French chanteuse, Mexican troubadour, '80s synth pop, or '90s house, the common thread remains Condon's ability to personalize the sound. March of the Zapotec marks the continuing emergence of a musician who has only shown an inkling of where he is headed. And while the road may be long, every stop along the way invites a new experience. Enjoy the latest.

Since its release in May of 2006, Beirut's internationally celebrated Gulag Orkestar album has soundscanned more than 45,000 copies, and the band has done a tsunami of interviews, photoshoots and features (including NY Times, Spin, Pitchfork, Urb, and Village Voice). This great fervor developed around an album conceived and constructed in a teenager's New Mexico bedroom. Six months of recording has led to The Flying Club Cup, an homage to France's culture, fashion, history and music. Two years ago, Zach Condon immersed himself in Balkan folk, absorbed sounds, scales, styles, and the sonic joys of a skeletally structured, cacophonic ensemble - and moved west. Soaking up the likes of Francois Hardy, Charles Aznavour, and, most notably, Jacques Brel (a huge influence on both Scott Walker and Mark E. Smith), Condon has been articulating his conversational French. Most of the album was created at a nondescript Albuquerque office space, AKA. A Hawk and a Hacksaw's practice room; Heather Trost plays violin and viola on three songs. Engineering and production assistance came from Griffin Rodriguez (A Hawk and a Hacksaw, Man Man). He helped separate the many instrumentalists involved in recording, as opposed to Gulag's largely solo flight. The orkestar, which has solidified into a core group of eight members, has grand plans for replicating the album live, and is now an integral part of Beirut's identity. Additional recording was done with Owen Pallet (Final Fantasy) at the Masonic church studio owned by The Arcade Fire. Within the spectacle and intimacy of The Flying Club Cup, you can hear a love letter to the joie de vivre that defines our existence. Listen closer, and you also hear the emergence of a singular musical talent - Mr. Zachary F. Condon, at present living in Paris - unbounded by cultural borders and by where his heart travels.

Vinyl LP pressing 2011 album from the lovingly-adored Indie Rock/Pop band led by Zach Condon. Beirut's music often parallels the exotic mysteries of world travel. Since Beirut's last album, 2007's The Flying Club Cup, sang a love-letter to France (with a 2009 stop-off in Mexico for the March of the Zapotec EP), many asked where his songs would voyage next, but few predicted the inward journey Condon takes on The Rip Tide, an album with the most introspective and memorable songs of his young career. Recorded in Upstate New York, Brooklyn and, of course, Condon's hometowns of Albuquerque and Santa Fe, The Rip Tide marks a distinct leaping-off point for Beirut.

While it may sound like an entire Balkan gypsy orchestra playing modern songs as mournful ballads and upbeat marches, Beirut s first album, Gulag Orkestar, is actually the work of 19-year-old Albuquerque native Zach Condon, with an assist from Jeremy Barnes (Neutral Milk Hotel, A Hawk and a Hacksaw). There are no guitars on this album; instead, horns, violins, cellos, ukuleles, mandolins, glockenspiel, drums, tambourines, congas, organs, pianos, clarinets and accordions all build and break around Condon s deep-voiced crooner vocals, swaying to the Eastern European beats like a drunken twelve-member carnival band. Though young, Condon has already recorded several albums of astonishing diversity. He recorded under the name Real People when he was fifteen, crafting an electronic record inspired by his love of the Magnetic Fields. At sixteen, he recorded an entire doo-wop album that sounds a bit like like Frankie and the Teenagers. Although he was a straight-A student, in 2002 Condon dropped out of school to travel Europe, cavorting and partying with the locals wherever he went. During one of these evenings that he was first exposed to Balkan gypsy music, blasting from an upstairs apartment. Condon went to investigate, and stayed up all night with a Serbian artist, going through albums country by country, note for note. Gulag Orkestar is the direct result of what he learned that night. This past winter, Condon headed to Sea Side Studios in Brooklyn s Park Slope where, along with Barnes and A Hawk and a Hacksaw s Heather Trost, he added percussion and violin overdubs to his original compositions. The resulting record sounds like a Neutral Milk Hotel from behind the iron curtain (for those playing along at home, look into the Boban Markovic Orchestra). Gulag Orkestar is a glorious sweep of music, striking in its emotional content and stunning in its scope.

Double vinyl release in gatefold sleeve.

For the past year, Beirut has alternated between touring in support of 2007's much-lauded The Flying Club Cup and writing a wealth of new material. With no sense of a release in mind, bandleader Zach Condon recorded in any style that struck his fancy. Some early discussions about recording material for a film being shot in Mexico morphed into a new idea: What about finding a local band in a small city in Mexico, hiring them to play some new material, and recording the result?

It was a sincere challenge every step of the way. Condon had to find the band, which he did through a bandmate's mother who has connections in Oaxaca. To communicate with the performers, he hired a translator, who had to be able to speak English, Spanish, as well as Zapotec, the band members' native language. From there, he flew down to Oaxaca, traveling a half-hour out of town to the tiny weaver village of Teotitlan del Valle, where he met the nineteen members of The Jimenez Band. The ensuing weeks of recording, rewriting, and relating are documented in a series of short films (to be released online as the release date for March of the Zapotec draws near).

All well and good, but the six songs found on March of the Zapotec are only a part of what this release has become. Before recording as Beirut, Condon went by Realpeople for his bedroom recordings, and he has revived the name for the second half in this collection, Holland. As opposed to March of the Zapotec, Holland collects a series of songs conceived and completed at home. One song, Venice, appeared on a compilation by The Believer magazine, while My Night with the Prostitute from Marseille was on the Big Change digital-only charity compilation on iTunes.

Together, this album-length double release represents the totality of Condon's work over the past year. March of the Zapotec is further testament toward the inventiveness and intimacy he creates as Beirut, a band which started as one person sounding like twelve, and has developed into a particular style and sound. No matter what inspirations jumpstart any one particular song, underlying it all is the realization that Condon is a singular artist creating an original sound. What may appear at first to be two disparate paths are in reality joined by Condon's ability to craft simple melodies that sound both unique and unforgettable. It would be a misconception for Beirut's sound to be considered a dabble in various styles, folk sounds, and music histories, because one could never confuse Condon's music for the original inspiration; all his songs on this release carry more in common with each other than they do their original source of inspiration. And whether he's being inspired by Balkan folk, French chanteuse, Mexican troubadour, '80s synth pop, or '90s house, the common thread remains Condon's ability to personalize the sound.

March of the Zapotec marks the continuing emergence of a musician who has only shown an inkling of where he is headed. And while the road may be long, every stop along the way invites a new experience. Enjoy the latest.

The sleeper hit of 2006, Beirut's Gulag Orkestar came out of nowhere to sell tens of thousands of copies in a matter of months and wound up on countless critics' year-end lists. As a stopgap before recording a new full-length in Fall 2007 -- and as a way to capture some current songs being performed at shows -- the eight-member band checked into Sea Side Studios in Brooklyn to record Lon Gisland.

These are the first studio recordings made by the entire group, and a sampling of the most recent songs by orkestar leader Zach Condon. Lon Gisland features four new tunes and a full band reworking of Gulag's "Scenic World." The five-song EP was initially released with the European edition of Gulag Orkestar (4AD) and as a limited edition, one-sided vinyl 12-inch by Chouette. The Ba Da Bing edition is in a highly collectible digipak format.