Beirut has released “Fyodor Dormant” off his new album “Artifacts” out January 28th via Pompeii.

Tracklist:

SIDE A – Lon Gisland, Transatlantique, O Leãozinho

1. Elephant Gun
2. My Family’s Role In The World Revolution
3. Scenic World
4. The Long Island Sound
5. Carousels
6. Transatantique
7. O Leãozinho

SIDE B – The Misfits

8. Autumn Tall Tales
9. Fyodor Dormant
10. Poisoning Claude
11. Bercy
12. Your Sails
13. Irrlichter

SIDE C – New Directions and Early Works

14. Sicily
15. Now I’m Gone
16. Napoleon On The Bellerophon
17. Interior of a Dutch House
18. Fountains and Tramways
19. Hot Air Balloon

SIDE D – The B-Sides

20. Fisher Island Sound
21. So Slowly
22. Die Treue zum Ursprung
23. The Crossing
24. Zagora
25. Le Phare Du Cap Bon
26. Babylon

“Artifacts” is a compilation album of sorts. Old EP’s and never before heard songs. Zach Condon said: “When the decision came to re-release this collection, I found myself digging through hard drives looking for something extra to add to the compilation. What started as a few extra unreleased tracks from my formative recording years quickly grew into an entire extra records’ worth of music from my past, and a larger project of remixing and remastering everything I found for good measure.”

Beirut said in a press release: “I don’t know if people who hear most of my music would know immediately how much I loved synthesizers as a teenager. I saw them as a welcome escape from the then electric-guitar-dominated music of the States and the U.K., before I was exposed to the broader spectrum of music outside of these narrow walls. I still sneak synths in around the corners of most albums, sometimes heavily, sometimes subtly. I now have access to some beautiful and unique analog systems, but back then, I had a barely functioning, shared-by-the-whole-house PC with a pirated copy of Fruity Loops, and I wanted to make music that could make me get off the wall and move a little, at least in my imagination. I was an often lonely and isolated teenager and rarely if ever found friends as obsessive and similar-minded about music as myself, so starting a band always ended up seeming more or less out of the question. This was my first experience being able to arrange for all parts with ease, and starting to craft sounds from simple wave shapes into something with character was an exciting endeavor that I still enjoy. It was on songs like this one that I started adding the acoustic instruments back into the mix, using a piano that was moved into the house that I fell in love with, and my dear companion the trumpet. It was from about this time at 16 years of age and on that I slowly began to shed the training wheels of the computer program and wander deeper and deeper into the unknown sonic territory of Farfisa organs, accordions and ukuleles.”