I’ve never heard anything quite like Beirut. Sometimes that can be mind-blowing… Sometimes that can be some dude banging a turkey leg on a trash can and, well, not so much. I’ve heard a lot of the ingredients of Gulag Orkestar—the overwhelming influence being Balkan folk music. Now, I’m by no means a world folk music expert… I took a couple courses in college. I really liked the Eastern European and Russian variety. It seemed to cast a spell over me like a Morricone soundtrack. But, alas, that was that. I never backpacked through Bulgaria or taught English in Serbia. I, more or less, forgot the creepy beauty that this brand of music possessed.

When I initially heard the first few tracks from Beirut’s debut I pretty much chalked it up to homage. However, not even half-way through the record I began to realize it was something entirely new. I thought, “This guy is crooning (a la Morrissey, Stephin Merritt, or old schoolers Ol’ Blue Eyes and Dino) over this sh*t!” By the time I heard “Postcards From Italy,” I was sold.

Who is this guy? Where is he from? Is this some crazy obscure re-issue that Ba Da Bing! Records got its hands on? Well, here’s the kicker: His name is Zach Condon and he’s 19 years old and from Albuquerque, New Mexico. Not that any of that really matters… It just shocked the hell out of me. Much of the beautifully thick layering is done by Jeremy Barnes of A Hawk And A Hacksaw and formerly of the legendary Neutral Milk Hotel. That’s not to distract from the seven instruments plus lead vocals that Condon lays down himself.

There are a few pauses in the gypsy parade to remind you what else you might find in young Mr. Condon’s record collection. Both “Scenic World” and “After the Curtain” have a decidedly Magnetic Fields flair. But, all in all, this is a truly unique album in spite of its familiarity. One that should be appreciated by more than those that will actually hear it.