Beirut’s curiously subdued, funky little fourth album makes me appreciate 2011’s poppy, sophisticated The Rip Tide all the more, which is to say that No No No sounds transitional and experimental. Many of its piano-, vintage-keys- and drum-driven tracks feel like song sketches, with Zach Condon’s lead vocals reminiscent of Morrissey but more obscured.
Since the vocals hang back, the hooks, humour and delights of the record are mostly mood-based and instrumental. Upbeat No No No (on which Condon’s vocal is closest to what you could call “charismatic”) recalls The Tide Is High – it’s a new wave reggae moment, with horns – while piano poppy August Holland chugs along melancholically. As Needed is an instrumental pause with strings, while Perth brings nice descending horn lines and a little syncopated guitar.
No No No’s a pleasantly nostalgic experience, but ultimately it feels insubstantial.
Top track: No No No
Beirut play the Danforth Music Hall November 13 and 14.
