Dirty Beaches Retires Name, Shares ‘Stateless’ Album

Marc Hogan

By Marc Hogan

Lead News Writer
on 10.28.14 in News

Dirty Beaches has hit an endpoint with new album Stateless. The instrumental LP is due out November 4 via Zoo Music, the label run by Dum Dum Girls‘ Dee Dee and Crocodiles‘ Brandon Welchez, and it’s streaming now over at Pitchfork. But now Alex Zhang Hungtai, who uses the Dirty Beaches alias for his intense, David Lynchian musical wanderings, has called time on the project.

“Hi guys thank you all for the support of STATELESS, its sad to say goodbye to DB, but rest assured NEW PROJECTS NEW MUSIC COMING SOON 2015,” he tweeted overnight, adding: “This may not be a smart move & painful 1 too, but in the long run I’ll look back & be glad I moved on from Dirty Beaches. Thank you all x. RIP DIRTY BEACHES 2005-2014. Time to move on.”

Stateless features violin from Italian composer Vittorio Demarin and mixing by Lynch sound collaborator Dean Hurley. The new full-length follows 2013′s Drifters / Love Is the Devil double album, which as our reviewer Ilya Zinger noted repositions Hungtai “as a post-punk punk descendant and dispirited millennial-generation composer.” Dirty Beaches broke out with 2011′s rockabilly-haunted Badlands (one of our sister site eMusic’s Best Albums of 2011), which followed smaller-scale releases for labels such as Night People, Campaign for Infinity and Fixture.

Born in Taiwan and raised in Canada, Hungtai got his start in music in 2005, according to his Windish Agency biography. “In a way I’m really confused as to what the concept of home is,” Zhang told The Wall Street Journal in 2011. “All the characters that I’ve created, through the past releases that I’ve done so far, are based [on] being away from home or in exile and being displaced and so forth. It is fictional but I tie it back with what I’m going through.”

Listen to Stateless’s droning seven-minute appetizer “Displaced” below, then scroll down to watch a video for the title track and listen to new non-album track “Dickie’s Theme,” followed by Badlands‘ eerily elegiac “Lord Knows Best.”