The Rip Tide Analysis

Beirut are back with a new record, one that screams brevity - it’s less than half an hour long, and it’s lacking in many of the warm, zingara-inspired ornamentations that made The Rip Tide such a good record. However, No No No’s more spacious setup doesn’t fail - frontman Zach Condon’s songwriting is just as impressive without the extra instrumentation. Although some listeners may long for the cozier, older Beirut, No No No is just as good - a breezy, light indie pop record that exemplifies the term ‘palate cleanser’. Condon stands more alone than ever on this new record, and it seems his talent for songwriting only gets better.

There’s a big part of this record that is reminiscent of “The Rip Tide”, the somber centerpiece and title track of Beirut’s last album - those quiet keys dominate here, albeit in a brighter setting. Just listen to “At Once” - set around a four-note piano progression, Condon sings, “At once - at last - at all,” between triumphant flares of brass. However, the difference between the two songs has to do with space - while there’s still a pleasantly dusty feel to No No No as a whole, its production is much sprightlier.

“Gibraltar” and “No No No”, both highlights of the album, are interestingly minimal in their approach: both really only have piano and percussion as a background for Condon’s voice. Both explore wonderfully exhilarating territory within a restrained palette, and both find a glorious balance in these seemingly contradictory characteristics. Kind of like a bright early spring