Moved

moved the project files and folders one folder back. the program still
has so many errors but i compiled it and we can run it. here is some
more irrelavant text if we needed:

Alex Zhang Hungtai of Dirty Beaches isn't shy about his influences. A
year after 2011's breakthrough Badlands elicited comparisons to
retro-damaged ancestors Suicide, he released a recording of an
improv-heavy performance in Norway that featured a "loose adaptation" of
Suicide's "Ghost Rider". Earlier this year, Hungtai shared the title
track to the second disc of his new double-album, Drifters/Love Is the
Devil, accompanied with a quote attributed to wastrel poet and professed
inspiration Charles Bukowski: "Love is a fog that burns with the first
daylight of reality." And the YouTube account used to host the song was
an abused portmanteau of Chinese director Wong Kar-wai's name.
Hungtai told Pitchfork around the time of Badlands' release that his
media-saturated theatricality spoke to his own experience as a
perpetually displaced stranger in strange lands-- he was born in Taiwan,
but raised in Montreal: "Nostalgia can be a sickness or melancholia,
like how immigrants that came to North America feel homesick. I don't
really have a place where I can say I was born and raised. Home is a
collage of all these different, fractured landscapes that I try to piece
together."

Badlands was an impressive work, but it was also sonically limited,
switching almost exclusively between howling open-road antagonism and
evocative, soft-focus balladry. On Drifters/Love Is the Devil, all
previous limitations are off the table. The double album, recorded in
Montreal and Brian Jonestown Massacre frontman Anton Newcombe's Berlin
studio over a period of six months, is both sprawling and detailed, a
sonic travelogue that takes the textural aspects of his work to
impressionistic heights. Though few have heard his earlier material,
Dirty Beaches' catalog is more diverse than the two-headed focus of
Badlands suggested. But Drifters/Love Is the Devil is more robust and
eccentric than anything he's ever released before.

This pair of albums also represents some of Hungtai's most experimental
work yet, a hard left-turn from Badlands' song-oriented approach. There
are a few excellent echoes of that previous record's sound on Drifters--
the junkyard roll of "Night Walk", "I Dream in Neon"'s bad-vibes glow,
the raw blast of "Casino Lisboa"-- but song structure is less of a
concern here. This music isn't impenetrable, but for those who listen
more for song structure, it might take a few listens to lock into what
Hungtai's doing. Much of the material collected on both discs-- each is
about 37 minutes long and has its own title, though they are sold
together-- comprises vignettes of varying length that exist in their own
space. But a front-to-back listen starting with Drifters is the best way
to take in the rich, haunting soundscapes on display.

Drifters, focusing more on songs, is the more accessible record, but
it's also a confrontational work. The sole instrumental, "Belgrade",
featuring synthetic oscillations matched with a perpetually doubled-over
bass line, is chilling. Its electronic textures are submerged in pools
of echo, bringing to mind vast, empty spaces that create an uneasy
atmosphere; "ELLI" is a gothic, coldwave-leaning song about aspirational
love ("In my dreams I'm always with you"), while "Aurevoir Mon Visage"
finds Hungtai shouting in French over tumbling drums and a low
jet-engine roar: "Goodbye my face/ It is nothing".