Beirut, Roundhouse

Beirut is an American group, named for a Middle-Eastern city, playing music inspired by European folk traditions. Helmed by Zach Condon, this geographical melange first arrived on the scene with 2006’s Gulag Orkestar. Picking up everything from the ukele to the flugelhorn to the accordion, Condon took a multi-instrumental approach, enlisting additional help from the likes of Jeremy Barnes, member of indie idols Neutral Milk Hotel. The sound was pointedly anachronistic, plaintive brass and lovelorn chansons harking back to the taverns of twentieth century Europe.

On later records, Condon and co. revealed increasing orchestral flair, showcased most spectacularly on ‘Guyamas Sonora.’ After 2011’s The Rip Tide, however, we didn’t hear much from the group, not least because of troubles in Condon’s personal life. Four years later and Beirut have returned with No No No, the most uncharacteristic album in their discography. There’s a restraint on show here that’s absent from previous work: the horns have been pared down, and even the vocals have lost something of their yearning-filled swoon. The sound leans more heavily on keyboards, straying, dare we say it, in the direction of electro-pop.

At its heart, though, Beirut’s music has retained its power; although they have a tendency to look backwards for inspiration, their work remains keenly felt. Condon is an accomplished songwriter and a master of wistful melodicism. The group also have a reputation for rousing, atmospheric live performances. Book now to see them at the Roundhouse on February 12.