Dirty Beaches: Badlands

Dirty Beaches Badlands


While Alex Zhang Hungtai is adamant that Badlands isn’t his alternate soundtrack for the 1973 flick of the same name, he does cop to an attitudinal similarity Both projects offer a skewed, deconstructed take on pop culture, eyes firmly fixed on that point on the horizon where art blends into life. Except in this case, it’s his dad’s life.

‘Dirty Beaches’ Hungtai’s mashups have gained him a global following and this one won’t disappoint. The framework’s primitive rockabilly, Cinema Noir riffs, fuzzed-out artpunk and alienated dissonance a la The Fall. Being that this is DB’s first album to get a wide release, he’s eased off the noise some, dropping in surprisingly crooner-like vocals to fill out the vibe. It’s all nicely grounded by the dirty, lo-fi production dude steeps everything in.

As befitting a showcase album, this is Dirty Beaches at his most accessible, with the Presleyesque rattle and shake of ‘Sweet 17’, the Phil Spectorish ‘A Hundred Highways” and the full-on croon of ‘True Blue’ providing easy points of entry. But it wouldn’t be a DB joint without its share of uncompromising black holes, in this case the instrumentals ‘Black Nylon’ and ‘Hotel’ which will piss you off and leave you WTF, especially if you don’t dig John Cage.

But don’t leave without checking out  ‘Lord Knows Best’, with its haunting piano loop, bebop swing and plaintive vocals buried deep in the mix and a slightly off-kilter production. It all adds up to the track that leaves you wanting more of the same from DB and if anything here has single aspirations, this’d be the one.

James Lizzard