Joey Brezinski's part in Cliche's Cle (above) was the first time I'd ever heard a song by Beirut, so when Joey specifically asks Junior during the opening conversation to check out a song, my interest was peaked. Moving from the dialogue to the video part as "Carousels" starts playing, you can already tell that Joey's wild manual combos and energetic style would fit well with the song. The main tune for Carousels is extremely catchy, making me want to pull up Joey's part again and again at the most random times simply to appease my craving for Beirut-edited skateboarding. One clip that sticks out for me is at 2:14 where Joey does a fakie manual kickflip to switch manual down a kinked pad to the singing of "It's a long way down..."
Before Stevie Perez blew up with Chocolate he came out with this part in Good Luck to Beirut's "Vagabond". The slow intro is fitting for both the song and the edit, and then the somewhat syncopated tune repeating in the background keeps things very up tempo and happy-go-lucky for Stevie to casually get a lot of tricks in with his quick feet and have fun while doing it. Stevie's make-everything-look-easy style also works rather well with the smooth song and keeps you craving more of those buttery lines from him.
One song that is high in my iTunes rotation from Beirut is "The Rip Tide" because it was used in Mark Suciu's Cross Continental, which is easily in my top 5 favorite video parts overall. The opening piano keys and old film capturing techniques settle you in for a great work of art and at about 0:44 unleashes the aesthetic energy when Mark properly lands bolts on a switch backside kickflip down a set. For the rest of the use of "The Rip Tide", every trick Mark does is technically impressive in some way or another (you know, classic Suciu) but with his insane control over his board and body, he oozes an incredibly smooth style that could not fit any better with the song. The trailing note on the trumpet as Mark ends his Washington DC line from 1:51 with the fast back tail gap out leaves your brain running through everything that just happened but wanting so much more of the flawless skating at the same time.
Lastly, looking at The Philadelphia Experiment again, the zoom in on the flowing LOVE park fountain about 4 minutes in together with the introductory chimes of "Payne's Bay" from Beirut provide you with the perfect mind state to witness a very appealing piece of videography, while engraining tricks like Ishod's front heel over the LOVE plaza garbage can into your head.
It helps that the lead singer of Beirut has a voice that will throw you into a trance of focusing on the skating. Not only that but the sheer intrigue behind all of Beirut's songs keeps you wanting more after you finish watching the skating that goes with it. Whatever mysterious aspect this is just works and I don't mind one bit.