Gallipoli (album)

Work on the album began in late 2016, with Zach Condon holding recording sessions in various cities, including New York City, Apulia, Italy, and Berlin (where Condon lives). The album is produced by Condon and Gabe Wax, who also produced the band's previous album, 2015's No No No. It features Condon playing his old Farfisa organ from Santa Fe which was used on Gulag Orkestar and The Flying Club Cup.[4] The album was announced in a statement on the band's Facebook page that also explained the timeline of its creation.[5]

Condon's first album since moving to Berlin and familiarising himself with the city's experimental electronic music scene, Gallipoli is an album of "loopy, burbling, shape-shifting tracks" that takes influence from electronic duo Mouse on Mars.[6] AllMusic's Marcy Donelson wrote that Condon channeled performances "through a series of amplifiers, PA systems, and tape machines" in order to "capture sounds like mechanical buzzing, creaking instruments, and off-pitch tones".[7]

According to Stephen Dalton of Uncut, the album features more "studio buzz and random dissonance" than Condon's previous albums, elaborating: "Generous helpings of crackle and hiss are retained in the mix, creating an almost musique concrète effect in places. Amid the usual parping trumpets and ukulele twangs are modular synths, tape loops, echo-drenched vintage organs, avant-jazz audioscapes and ambient sound paintings."[6] Donelson wrote that the album's usage of full instrumentation, colourful arrangements and dense production prevents the album from becoming lo-fi, despite Condon's stated wish to capture organic sounds.[7]

Professional ratings

Aggregate scores
Source	Rating
AnyDecentMusic?	7.0/10[8]
Metacritic	75/100[9]
Review scores
Source	Rating
AllMusic	[7]
Exclaim!	6/10[10]
The Guardian	[11]
Mojo	[12]
Q	[13]
NME	[14]
Pitchfork	6.6/10[15]
PopMatters	8/10[16]
Rolling Stone	[17]
The Times	[18]

At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream publications, the album received an average score of 75, indicating generally favorable reviews.[9]

Ragan Clark of the Associated Press praised the album and called it a "return to vocal and expressive brilliance", saying, "Some of the zest lacking in the band’s 2015 album No No No is fully realized in this new album."[19] Will Hermes of Rolling Stone gave the album a favorable review, saying, "Condon's built an entire world with globetrotting horn charts at or near the heart, and Gallipoli revisits it with some of his most emotive songwriting and singing." Paddy Kinsella of The Line of Best Fit praised the album as the band's best to date, stating, "[Gallipoli] is the sound of one of our most talented musicians rediscovering his love for what he was born to do. It's Zach Condon's career highlight so far and shows that he's at his best when he enjoys making music and cares less about what critics and fans might think of it. Long may it continue."[20]

Writing for The Times, Will Hodgkinson gave the album 2 out of 5 stars, saying the album "never seems to get beyond its own sense of sophistication."[18] Alex Hudson of Exclaim! gave the album a 6/10, writing, "There's enough material here for a solid EP, but it's rather thin for a full-length."[10] Victoria Segal of Mojo said, "Gallipoli [...] is oddly unmoving, lacking range for all its seductive picturesque roaming".[12]

The following people contributed to Gallipoli:[21][22]

Beirut

• Zach Condon – vocals (1–3, 5, 6, 8–12), backing vocals (6), piano (5–12), Rhodes piano (3, 12), Farfisa organ (2–4, 6–9), Hammond organ (1), pump organ (9), ukulele (1, 3, 5), trumpet (1–3, 6, 8–11), accordion (3), percussion (2–5, 7, 8, 10), synth (10), Moog Voyager synthesizer (1, 2, 4–9), modular synthesizer (7, 11, 12), bells (4), Roland keyboard (5), ROLI Seaboard keyboard (6), shaker (6), drum machine (9), vocal recording, production, mixing
• Nick Petree – drums (1, 3–6, 8–10, 12), percussion (1–8, 10, 11), baritone ukulele (1, 6), backing vocals (6), hand drums (7, 10)
• Paul Collins – bass (1–3, 7–10, 12), guitar (1, 3, 7, 10), Farfisa organ (2), double bass (6, 11), backing vocals (6), tape machine (6), drum machine (7), modular synthesizer (7, 11, 12), baritone guitar (8), percussion (8), synthesizer (9), space echo (12)
• Ben Lanz – trombone (10, 11), brass arrangement (11)
• Kyle Resnick – trumpet (10, 11)

Additional personnel

• Gabe Wax – production, mixing, engineering
• Francesco Donadello – mastering
• Norman Nitzsche – mastering
• Brody Condon – artwork
• Ben Wilkerson Tousley – design