Inspiration can come from anywhere. A painter can catch the glimpse of an off-colored autumn leaf and create a world around its shades, a photographer can capture the innocence of a picnic with one snapshot of an entire afternoon; The art we consume and fill us with hope was once a dwindling moment of passion for another. Regarding Zach Condon, the mastermind behind the off-kilter lo-fi soundscapes of Beirut, inspiration strikes after the artist has traveled, soaked in new ideas, and experienced new sides of life. For his latest project, A Study of Losses, Condon was influenced by German author Judith Schalansky and her book of the same title. It was composed for a Swedish Contemporary Circus. The sprawling 18-song effort comprises seven instrumental pieces and eleven classic examples of Beirut’s pop-fusion prowess.
On paper, a concept album commissioned by a circus based on a novel written from a magical realist’s perspective sounds like a hoity-toity outing, a chance for artistic and intellectual elites to put their ivory towers together and craft deep, complex art. However, Condon’s interpretation of the task could not be further from this sentiment. While complex and experimental, A Study of Losses is not the indigestible, full-of-itself LP it may come off as. These 18 songs are quaint, warm, heartbreaking, and a cinematic step in the right direction for Condon’s ever-evolving moniker. The circus elements come from the inherent whimsy of these songs, and the losses being studied appear in the longing that engulfs Condon’s voice throughout his latest effort.
The album starts with an exploration of balances as Condon transitions between the downtrodden balladry and grandiose instrumentals that shape A Study of Losses. Both sides of the LP play a role in shaping the narrative, with the vocal tracks employing droning melodies that deliver vivid emotional imagery, like on “Forrest Encyclopedia” or the lo-fi bounce of the single “Guericke’s Unicorn.” Despite being inspired by the novel, Condon’s lyrics on this album feel deeply personal. Condon didn’t simply lift the concepts explored in the book and put them into songs; he lived with these ideas, interpreted them, and spun them into relatable and heartfelt poetry. The slow-burning balladry of “Sappho’s Poems” and the warping folktronica of “Ghost Train” are infectious and beautifully crafted examples of Condon’s maturity and overall artistry.
While you may be tempted to run straight to the tracks featuring Condon’s warm vocals, the instrumental tracks play an equal role in shaping the enticing nature of A Study Of Losses. These pieces’ sweeping, subtle ambiance ties the album’s concept together with hand-crafted bows. The delicate strings of “Mare Serenitatis” and the flower-like acoustics of “Mare Crisium” nod to the ballet aspect of this album; these moments are where A Study Of Losses truly comes to life.
Condon’s latest LP under his Beirut moniker is his most ambitious and rewarding project to date. A Study of Losses is a high-concept LP executed with careful precision by an empathetic poet hellbent on injecting his views on longing and loss into these poignant displays of folksy chamber pop bliss.
