Realpeople is delicious. It still sounds very Beirut— the sound, the feel (more specifically the melody and progression) but primarily because of Zach Condon and his vocals. More electronic version of Beirut but Zach Condon’s vocals take the electronica away— his voice reminds me of brass. But brass is a little ambivalent to me. As I’ve written on FB: “I think Beirut is the only brass-related affair I can stand. Not only ‘stand’ but I’m IN LOVE with the sounds they produce. However, I HATE all other brass usages I’ve ever heard in my life (they sound like fart noises). Does anyone have any good brass music recommendations though?”

I have a pitch discrimination for musical instruments. The lower they sound, the more I can’t stand them. I feel nauseous when I listen to the tuba and I think the double bass is inferior in the strings family. However, I’m beginning to get better on this. I began to appreciate the cello after listening to an amazing solo and brass after Beirut. Though I still can’t stand brass in many other usages. Trumpets which are of higher pitches frighten me (more specifically my eardrum. I have a fear of anything that harms my hearing) because of sudden bursts of high frequency and wavelength. That beast cannot be tamed! And it looks torturous playing it. If my eardrums don’t burst first, the player’s may do so first— both from being the one to absorb the highest intensity of brass sounds and blowing so hard the wind may have to come out from the ears next.

Back to the topic: Zach Condon’s projects are amazing. I can listen to them for a long time and at unexpected intervals get addicted to one song. This is what happened with this song. My favourite songs from Beirut/Realpeople other than this one are: Scenic World, Guyamas Sonora, The Penalty, Brandenberg.

Sidetrack, I would like to learn the violin someday. It was also partially inspired by Andrew Bird and Owen Pallett. And to be more productive in the holidays, I’m going to try and cover Joanna Newsom on the piano.

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