And then there's "Mirage Hall", which towers over Drifters and proves its most satisfying surprise. Hungtai has flirted with electronic music before, on 's Night People-released cassette Night City , but he's never operated with this kind of scope.
Over nine harrowing minutes, he and collaborators Shub Roy and Bernardino Femminielli build a thick monolith of clattering techno, broken up by ethereal moans that eventually dissolve into high-pitched howling noise. Five minutes in, Hungtai enters screaming in Spanish, his vocal performance turning from muscular to absolutely blood-curdling.
The weatherbeaten horns and underwater ambience of Drifters ' closing track, "Landscapes in the Mist", act as something of a portal to Love Is the Devil 's drastic shift in sound. Hungtai has hinted that Love is a breakup album , but you don't need any context to hear this music as impossibly sad and lonely.
By design, Love Is the Devil is much more abstract than its counterpart; "Woman" is four minutes of synth and distant, irregularly plinked piano, while the second section of "Like the Ocean We Part" is a minute-and-a-half of what sounds like railroad field recordings.
Give it time, though, and the album reveals itself as the more impressive of the two, a dense and cinematic exploration of grief and loss that is as pretty the title track's swelling strings as it is desolate "Like the Ocean We Part I "'s dolorous vocals and radiant, solitary guitar. The highlight of the record-- and, possibly, the collection as a whole-- is the centerpiece "Alone at the Danube River", a seven-minute that features a guitar solo eventully overcome by waves of shimmering synths.
For me, "Alone at the Danube River" has an uncanny ability to lodge itself in my mind. And I think fits with Hungtai's overall artistic intention and shows why he's such an interesting artist.
Yet even among these songs there are hints of Dirty Beaches ' growing experimental side, particularly on "Elli," one of Hungtai 's sparest, most haunting moments yet, and the ten-minute "Mirage Hall," which takes his hypnotic grooves and drones to hallucinatory lengths.
Meanwhile, Love Is the Devil provides a more ambient yin to Drifters ' often-menacing yang though the entire set could have been called Drifters and it would have fit. The second half of this set is not unlike a darker version of the Water Park music, especially on the expansive guitar piece "Alone at the Danube River," which shares a moody, transporting feel with that score.
There's still plenty of Dirty Beaches ' distinctive grit, which helps ground the more ethereal textures and tones he plays with on "Greyhound at Night," which, with its airy trumpet and guitar, lies in some floaty space between jazz, indie, and post-rock. At times, Love Is the Devil hints that the more ambient elements Hungtai 's music might work better on the side than as the main focus, particularly when more structured songs such as "Like the Ocean We Part" work so well.
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Electronic Folk International. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. By Jason Ferguson May 21, pm. Share Tweet Submit Pin. Tags dirty beaches.
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