on September 8, 2011
This album is very good. I've heard a lot of similar statements; but this album really does sound like if you had a drunken nightmare where you went to hell and it was a 1950's post-apocalyptic, black-and-white wasteland full of motorcycle gangs and Elvis was the devil. Very cinematic. Great for walking by yourself in the city at night.
"You look just like an Elvis from Hell"
-Jeffrey Lee Pierce, Gun Club
on October 27, 2011
I don't really know how to describe this album with some pithy title. It's mostly rockabilly type melodies, but grungy, crackly, mumbley. Lots of people have invoked David Lynch in describing it. Definitely, if you like Lynch's soundtracks, you will love this. I just happened upon Dirty Beaches and I can't stop listening to it.
on January 7, 2014
With so much "loop" based music entrenched in techno or hip hop, Dirty Beaches show a fresh way forward. While hugely indebted to pulsating rhythms and vocals of the first Suicide album, Dirty Beaches relies more on guitar and drums than synths in its blurred reinvention of 50s rock and pop. The murky, lo fi production suits the material: channeling lysergic Link Wray guitar riffs atop loops of what sound like real drums (as opposed to loops of electro drums) in "Horses" or "Sweet 17", or the wistful melancholy of "True Blue", which sounds like Roy Orbison guesting for the Royal Trux after stealing their drugs. "Speedway King" and the final two tracks are more ominously bleak, but anchored in loop rhythms that know when they are about to outstay their welcome (the entire album is just under 30 mins). While some can accuse Dirty Beaches of flagrant theft from those who came before, he steals from the best, with a fresh slant on 50's nostalgia, the early Suicide/Cabaret Voltaire records, and postpunk. While some see his dark take on pop Americana akin to David Lynch, I'd say he's a romantic at heart, but with a cool record collection, and Wong Kar Wai's films are the mood he's really going for.