Humble blogger has been so busy lately, nary any time to get to this wee little blog or mention anything about what’s been peaking my musical interest this week.

I can assure you that I have been feverishly listening and reviewing new records; a lot of stuff on the True Panther label that I’ve been meaning to really give a go, and of course some twee pop.

Other than that, today, I find myself carving out a good chunk of time to really settle into the new double EP from Zach Condon’s Beirut and Real People projects; March of the Zapotec/Holland has been written about quite a bit already at Pulp and Circumstance, but am finally tackling every track and taking time to really figure what it is that makes these records so distinct, and welp, a special experience in Beirut listening.

Have you gotten a chance to really get into it? What do you think? The Mexican horns from the large-piece Jimenez Band are quite astounding and surprisngly works with Mr. Condon’s aesthetic, despite my apprehension. The tunes are inspired by Mexican funeral marches, I believe, and are incredibly lush and layered, with very few of the six tracks total on the EP actually featuring Condon’s warbling, gypsy-inspired vocals.

And it creates a really odd pairing with the Holland EP, featuring Condon’s “work” with synths; it’s a bit sloppy, filled with pop, and arguably a perfect feature of his “younger solo” years; but nontheless intriguing set together with the pristine, mournful tunes on The March of the Zapotec, despite the fact Condon’s vocals almost feel left afar off, not really ever touching the funeral mourns but rather an after thought.

Give me a few more listens. But for now, I’m pleased to have some new material from Condon so quickly, and it’s meeting my needs today and most likely, tomorrow.

Enjoy a few tracks, will you?

[Beirut – The Akara (off March of the Zapotec).]
[RealPeople – My Wife, List in the Wild (off Holland).]