> RELEASES VINYLS CD/CDR/3"CDR/TAPE


ELA ORLEANS / DIRTY BEACHES




All music written, arranged, and recorded by Ela Orleans and Alex Zhang Hungtai.
Art by Shawn Reed.
Silkscreen print on strong recycled paper, Silkscreened by TCHIKEBE - art workshop Marseille - Fr.
Clear transparent vinyl + coupon download MP3
with Special Limited edition - 50 tee shirts - Girls & Boys - Sold Out.


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Your crumbling Kitchen ceiling turned into that desert-like road you talked so much about. Like a mirage i shouldn't believe in.
Alex Zhang Hungtai (aka Dirty Beaches) Born in Tawain and live in Vancouver.
His music brings back to life the forgotten stories of a wild America of the 1960's, stories imprinted on scorched hope.
Ela Orleans left her native Poland for Glasgow before setting in the vastness of New York. She takes us on a reverie of splendor and despair. This collection of pensive postcards from NYC is dedicated to night owls feeding on utopia and desolation.
The soundtrack of a trip, headlights off, the horizon clanging against corroded car metal.
And your absence in the passenger seat.


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TRACKLIST

38:43

FACE A // ELA ORLEANS

1-TIDES AND SHADOWS
2-NEVEREND
3-SOMEWHERE
4-VERTIGO
5-iN THE NIGHT FINAL
6-i KNOW


FACE B // DIRTY BEACHES

6.God Speed
7.02 Crosses
8.Death Valley
9.Don't Let The Devil Find You
10.A Train
11.L Trai
n


33rpm
out, 2011. June.21

300 copies (first press)
250 copies (repress Aug, 2011)

co released
La Station Radar - Atelier Ciseaux
Night People

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SOLD OUT

 

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LINK
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ELA ORLEANS

DIRTY BEACHES

 

 


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VIDEOS


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REVIEW

HARTZINE
De graciles volutes de piano introduisent dans l’alcôve de notre nuit la splendeur déroutante de Double Feature, split vinyle réunissant deux amis inspirés, Alex Zhang Hungtai, ou Dirty Beaches selon son nom de scène, et Ela Orleans, exilée pour quelques mois encore à New-York. S’agissant de leur rencontre, Alex lève le voile : « J’ai contacté Ela après avoir découvert sa musique sur MySpace. Je l’ai invitée à jouer avec moi lors d’un concert à New-York au cours d’une tournée américaine. Elle nous a hébergés, nous préparant le meilleur des petits-déjeuners. (…) Ela était déjà chez la Station Radar, et Fleur et Jérôme ont eu la gentillesse de me demander si je ne voulais pas sortir quelque chose pour eux. C’est à ce moment que Shawn a découvert la musique d’Ela, et que nous sommes tous devenus amis. » Une amitié gravée dans le sillon sous les hospices donc d’une bienveillante co-production réunissant les labels français La Station Radar et Atelier Ciseaux, en plus de Night People, Shawn Reed, son fondateur, par ailleurs membre de Wet Hair, étant à l’origine de l’artwork soigné, sur papier recyclé. Et si deux morceaux, I Know et Don’t Let the Devil Find You, grappillés sur chacune des faces, furent éventés en début d’année via la compilation Double Deluxe Fold – à télécharger par ici – l’ensemble laisse coi, tant par l’originalité diffuse de son contenu au sein même de la discographie de ses prolixes géniteurs, que par l’indicible cohérence émanant de cette sémillante collaboration. Aux confins d’une impénétrable obscurité, l’onirisme serein et enivrant déployé par celle, récemment responsable d’une cassette, NEO PI-R (lire) parue sur Clan Destine Records, se projette sans effort en contre-point de la besogne, intense et charnelle, de son double antithétique, auteur il y a peu de Badlands (Zoo Music) et incarnant, dans l’acier de ses pérégrinations, le phantasme éveillé de l’exilé détroussé, sans cesse en quête d’un ailleurs qui ne lui appartiendra jamais. Tous deux déracinés – Alex est de Taïwan, Ela d’Auschwitz – on devine à quel point la fuite, le temps d’une évanescence noctambule pour l’une, d’une voie ferrée subjuguée pour l’autre, se pare d’un commun attrait, d’une fascination fondamentale, se lovant, sans acrimonie aucune, aux entournures d’une nostalgie évocatrice et créatrice, indissociable de leur musique. Si prompte à convoquer les spectres angoissants de ses entrelacs psychiques, Ela révèle ici, paradoxalement, une demi-douzaine de cartes postales, jaunies et écornées, dont la douceur et la quiétude s’affranchissent des oboles séculières. De leur beauté insomniaque, où la voix profonde et androgyne d’Ela s’exécute au rythme d’un clavier à la parcimonie jubilatoire et de quelques notes de guitares savamment samplées, Neverend et I Know occupent les deux cimes d’un continuum entamé par le mirifique instrumental Tides and Shadows, à la nudité confondante. Entre, Somewhere et In the Night, telle une réponse de l’une à l’autre, cerclent Vertigo, cinématique rêverie dénuée de chant, selon quelques aphorismes et mesures empruntées au jazz, transmuant d’un spleen anthracite à l’enchantement mélancolique. A peine effacé d’un sable brûlant l’empreinte d’un tel océan vespéral, Dirty Beaches entonne pied au plancher God Speed, étourdissante course-poursuite d’un horizon inexorable sur l’asphalte rectiligne de la grande Amérique. L’essoufflement gagne, le soleil nauséeux plombe l’espoir famélique et l’enfer se fait terrestre, épousant les contours d’un chant du cygne désabusé, rossé de réalité, avec Crosses puis Death Valley, chaotique chemin de croix instrumental. Sur Don’t Let the Devil Find You, la voix d’Alex, toujours aussi proche de celle d’un Alan Vega croquignolant, fleure l’impossible rédemption dans l’acétone de guitares revêches, tandis que le diptyque L Train / A Train laisse présager, à l’orée d’un crépuscule délétère et la poussière de rails interminables, l’éternel recommencement guettant le migrant. Double Feature ou la caresse de l’ombre virant à l’infamie criblée de feu.
13 July 2011, By thibault Siglourel
> HERE

MIXTAPE AND INTERVIEW of DIRTY BEACHES > HERE
MIXTAPE AND INTERVIEW of ELA ORLEANS > HERE

FOXYDIGITALIS
Two simply eclectic artists who have finely tuned their skills get together to share a split on one aurally delicious piece of wax. Ela Orleans and Dirty Beaches are naturally good mates since their experiences and musical creations are as diverse as their travels and residences in many cities, countries, and continents. This might explain the varieties and mixtures of instrumentation and sampling. There’s a common nostalgic interest in revisiting and reinterpreting past memories and retrofitting them into present time and context. Blending all those various and even almost incompatible influences and references would appear to be quite a task, but for Ela Orleans and Dirty Beaches, it is just their bread and butter. They juggle and rearrange their various curiosities and past lives into an artistic vision that finds a niche in the current scene and is received warmly with welcoming arms. It’s no wonder that each artist, offering something way different from the typical trend of normal abnormalities, is really making a name for themselves. Ela Orleans combines echoing pop vocals that can almost sound like bygone days of classic oldies, ubiquitously appreciated indie rock tempos and guitar, under-the-top keyboard psychedelics and lucid lines, and unpredictable samples and effects. One of my favorite tracks on her side is the immediate and gorgeously soulful piano intro in minor, which then gives way to a loop of surf rock-style guitar antics. It’s an experience that shirks secondhand description and demands subjective encounter. Dirty Beaches utilizes heavy samplings that are drained of their color and then dripped and saturated in thick reverberation and resonance. Interjected into the mix from what seems like the outside is an intrusive inscrutable vocal blur and even elusive guitar sheens. The whole vibe that I get can be summed up in The Velvet Underground’s “Venus in Furs,” with its loathsome and druggy lethargy and dirtiness. It appeals to a base and depraved yet guiltless and blameless sentimentality within ourselves. You can’t help but find something to appreciate about this artist’s courage and creativity. Night People won the day between the three labels to take responsibility for the artwork. Shawn Reed was taken to task to provide us with an appropriately provocative design, which he put together faultlessly. The organized collage approach with its retro cues, geometric designs, visually poetic ideas, and pop fluency really works for this release. This is a brilliant release that will satisfy both the ears and the eyes.
12 december, 2011 by Dave Miller
> HERE



ALTERED ZONES
French label collective La Station Radar/Atelier Ciseaux have teamed up with stateside wax slingers Night People (founded by the much-missed Raccoo-oo-oon) to release Double Feature-- a heavy hitting 12" split between Ela Orleans and psych rock's finest pompadour-laden trans-Pacific prophet, Dirty Beaches. Despite the beach-themed moniker, Alex Zhang doesn't evoke whimsical nostalgia. Hell no. His recent release, Badlands, summons acid trips riddled with paranoia, shadows lurking in the corners. "God Speed," above, is full of Bo Diddley riffs piped through primordial distortion and zombified rockabilly vocal melodies. Ela Orleans counterbalances the fright night with blithe and breezy, baroque-flavored pop. "Neverend," below, dabbles in piano-pop splendor and hauntological haziness. Sparse and cinematic, Ela Orleans transmits a gorgeous technicolor soundtrack for balmy late nights.
by Kenny Bloggins, The Decibel Tolls.



7 INCH BLOG
Had to mention this split 12", not just because it features Dirty Beaches and Ela Orleans haunting idiosyncratic soundtracks, but that these three cutting edge labels joined forces in releasing this long player. It couldn't be a more perfect union and like all great split efforts, one will lead you to look into the others work...in this case I'd heard Dirty Beaches first a while back on the Italian Beach Babe label and his spaghetti western sound felt related to Deerhunter's subtly changing long form experiments and Suicide's stark futuristic minimalism.
Ela on the A-Side is also working everything ambient and atmospheric from soft tremolo reverb piano, on "Hope Lange"...or is that a guitar? Already this is going to be futile to try to specifically pick out and dissect the various textures and elements, that's the scientist part of the brain, and this is very much coming from that intangible dreamlike place that's better left to the unconscious. "Neverend" is even aligned with something like Ducktails, a real foreign tropical sound, made up of things that shouldn't necessarily be on an island list of typical instrumentation. A steel guitar slide, the heavily muted picked reverb surf melody, the layers of reverb, and high strung tinny plings above the frets, evoking a kind of seagull cry? Or is that a sample. Stop it. It's those mysterious uses of the familiar that continue to carry this into that futuristic place. Her floaty but in focus vocals keep bringing you to that Julee Cruise place, a mix of retro sounding instrumentation and voyeuristically witnessing this personal memory. Ela's "Movies for Ears" site mentions she has participated in BMI's film scoring program and worked with various experimental/noise projects in NYC, and composing a sort of narrative out of seemingly minimal elements is present in instrumental breaks like "Vertigo" where a string synth plays slowly over quiet field recordings, a stand in for our idea of an orchestra, the false promise of that transcendence maybe? It's quickly broken by "In The Night" as close to a pop feel as we're going to get, an uptempo loose feeling barely danceable track. There's a huge sense of distance from this side, everything is always out of reach, turning up the volume just increases the density and overwhelms. Finally "I know" utilizes a demo chord melody from an old Casio SK-1, and that improvisational sounding guitar slides, singing through a field of delay, this one could even be a part of that '60s wall of sound reemergence of the Vivian or Dum Dum Girls sound or the 13th Floor Elevators pop-psyche. The B-Side from Dirty Beaches gets into "God Speed" a definitively sounding Suicide homage, the mechanical rapid fire drum machine track or sample and a repeated far off guitar pendulum swinging riff and his soulful vocal...a sort of Elvis animatron, constructed out of the samples from the idea of the vibrato rocker, with a lot of important pieces missing. "Crosses" then mines the repetition further with harpsichord strums and a lonesome electric again, like Matt Mondanile, flirting with the Velvet Underground dissonant sounds and neverending structure. The live drum sound here almost missing beats, nodding off alongside deeper plaintive vocals. "Death Valley" goes to his familiar western sounding place, in love with that slow reverb guitar sound, like Neil Young's Dead Man soundtrack, lost on the tiny AM radio, a smaller steam train struggling down the tracks. There's such strong, specific references he's able to draw from, or just arrange. "Don't let the Devil F", has Alex emotively singing over a looped electric strum, a Leonard Cohen vending machine stuck in the back of that wild west bar, with the saloon doors that swing both ways. His attempts at homage always deliberately thwarted by the unnatural sounds. Next there's two pieces tied to New York, "A-Train" and "L-Train", the brush snare rhythm of "A-Train" decidedly creating that chugging away feel, while a massive delay on the guitar creates an eerie, unsettling effect...another reverb warble perfectly in time, not creating any notes, just humming away underneath...this is the stuff of Bladerunner, if I can nerd out for a second here...it's a dark future, maybe the most accurate because it isn't that far away from where we live today, it's not shiny and convenient, things are going to be even older. Are they going to one day replace the entire subway line? No, it's going to be replaced, piece by piece at different times, it's going to have these indecipherable layers of construction. "L-Train" is an even bleaker piece, which makes sense...mostly industrial assembly line machines stamping away, or the clicking of tracks underneath while a loop of an out of sync organ quietly bleats away in the corner. A kafkaesque mass.
Sept, 2011, By Jason Dean

> HERE

 

MAGICRPM