Brooklyn Couple Breaks Up in YouTube Video

If only every relationship could end in an amicable music video.

Brooklyn-based couple Jonathan and Ivory are making viral headlines with their YouTube sensation song that chronicles their relationship’s demise in light of opposing views.

According to the song’s lyrics, Ivory takes an adamant stance against having children, in contrast to her pro-kid partner Jonathan who makes clear that he “wants to have babies.” After five years of dating, the couple have concluded their conflicting desires leave no other choice but the inevitable break-up.

The song delves further with its lyrics, assuring mutual friends that they “don’t have to choose” sides, “though it will be awkward, yes.” The ex-couple additionally requests invitations to friends’ parties, assuring they will still remain cordial:  “No, don’t feel weird; we love all of you! After five whole years at each other’s sides, there’s just some things no relationship can survive.”

The YouTube video concludes with an eager Jonathan admitting he wants a couple of children, juxtaposed to a negating Ivory who simply shakes her head in disagreement.

What’s your take on this couple’s breakup rendition? Do you believe this civil break-up ballad ends on a musical note, or nonsensical approach?

Pendulum: Immersion


RIYL: The Prodigy, Nightbreed, King Cannibal

Pendulum have the most apt band name in history, because they love to swing back and forth between two genres; drum and bass and hard rock. Their 2006 debut Hold Your Colour was almost exclusively drum and bass, but their 2008 follow-up In Silico saw the group abandon almost all of the drum and bass influences in exchange for a hard electronic rock style (think Nitzer Ebb meets metal) that put off much of their core fanbase. It also made them mainstream stars throughout much of their native Australia as well as Europe, leading bassheads around the world to cry “sellout.”

Well, this should shut them up, although it probably won’t. With Immersion the band takes a hard swing back to their drum and bass roots while still keeping just enough of their rock influence to sound exciting and different. They even pull in some electro-house and dubstep influences into the fold. Sometimes they even do it all at once, like with the two-parter track “The Island,” which starts as a straight-up electronic-rock song before suddenly exploding into a sea manic breakbeats and then transforming again into a shockingly good dubstep sound, a genre that is usually as boring and empty as the fans who listen to it. There are a couple mid-tempo tracks on Immersion that stick closer to the rock/dance formula of In Silico, and most of the songs still feature an abundance of vocals. I’m sure the most hardcore drum and bass fanatics out there will cling to those two facets of the album to convince themselves that Pendulum are still a bunch of sellouts. They can go ahead, the rest of us will be rocking out to the first great electronic album of 2011 (or the last great electronic album of 2010 if you live in the rest of the world, where it came out months ago). (Atlantic 2011)

Pendulum MySpace page

Bullz-Eye’s Favorite Albums of 2010: Staff Writer Ted Asregadoo’s picks

The days of getting lost in an album have passed me by. This year, I really tried to rekindle that lost listening art of playing entire albums – instead of compiling playlists in iTunes. It hasn’t been easy. I think the ease of digitally downloading albums has dried up the sense of anticipation that used to come with a purchase of a physical copy of an album at a record store. Now, the record store is just part of the millions and billions of distractions that await you on the Internet – much of it for free.

Now, I don’t mean to go on a diatribe against the devaluation of music because of the Internet, but one thing that has occurred because of the sheer plethora of music available with one click of your mouse is a kind of ADD when it comes to listening to music. My colleague both here and at Popdose (that would be Jeff Giles) has written about it more eloquently than I can, but the sentiment is very much the same: because of the volume of music that is available in downloadable form, it’s difficult for me to form a deep connection with an entire album. If we could flash back 20 years, it would have been a different story to feature 10 albums. Nowadays, it’s rare that an entire album can hold my attention.

But, never say never, right?

What you will find here are mostly my favorite songs of 2010, but occasionally you’ll find entire albums. I know, after all that “downloadable music is ruining my attention span” crap, I say that there were some albums that really captured my attention. But like I said, I’ve tried to rekindle the art of listening to entire albums, and while I feel I’m losing that battle, I haven’t entirely lost the war. So, here we go with my top 10 of 2010!

10. Paper or Plastic, “The Honest Man”
Every now and then a link arrives in my inbox that lives up to the hype. Case in point is the New York group, Paper or Plastic, who has a kind of Ben Folds thing going on with “The Honest Man.” The song is an example of some very lovely power pop, and you’ll find yourself humming the chorus after a few listens. The band is giving away their EP Ron Save the King on their website. Get it, if only for “The Honest Man.”

9. Somebody’s Darling, “Lonely”
In my review of this album, I was upfront about my allergy to country music – even if it’s alt-country. But Somebody’s Darling has enough rock-n-roll in them to make the musical waters safe for a guy with my particular affliction. “Lonely” is by far my favorite track on the album, and it’s not difficult to hear why. The song is just one big fireball of energy with a great driving beat and some wailing guitars. But it’s the full-throated vocals from Amber Ferris that takes this song from good to great.


Read the rest after the jump...

Laura Cortese: Acoustic Project


RIYL: Uncle Earl, Pete Seeger

Laura Cortese is a well known side musician whose skill on the fiddle, vocals and bass have made her a favorite with artists as diverse as Uncle Earl and Band of Horses. She’s released two solo LPs and two EPs before the release of Acoustic Project, a seven-song set of music featuring just fiddles and cello, with Coreste handling vocal duties on five of the songs (the other two are instrumentals).

Acoustic Project is short and sweet. All of the songs have their own unique sound and feel as if they were drawn from some time long ago when folk songs were passed down from the mountains to Greenwich Village. However, most of these compositions were recent compositions, so their timeless quality is a tribute to the songwriting talent of Cortese and the few collaborators who helped her out.

“Perfect Tuesdays” is a rollicking, Cajun-influenced song, while “5 Tune” has the charm and spirit of an old pioneer jig.  The highlight of the Acoustic Project is “Women of the Ages,” a haunting, beautiful song that features plucking violins, a cello and Cortese’s gorgeous voice. It has the stature of an old Irish folk song and will stay with you for weeks. That song alone you should give you reason seek out Acoustic Project. However there is enough great music on this EP to make it well worth your while the next time you’re looking for something unique and adventurous. (Laura Cortese 2010)

Laura Cortese website
Purchase Acoustic Project through Amazon

Miles Davis: Bitches Brew Legacy Edition & Dogfish Head: Bitches Brew

Bitches Brew (album):

RIYL: Mahavishnu Orchestra, Weather Report, Return to Forever

Bitches Brew (beer):

RIYL: Dogfish Head Raison D’etre, Rogue Dead Guy Ale, Tröegs Flying Mouflan

Miles Davis’ creative spirit in the late ’60s and ’70s was particularly restless, and his music gave voice and volume to that restlessness, as he found new fans and embittered jazz purists by adding electric instruments to his palate. In a Silent Way (1969), in particular, saw Davis and his sidemen playing with side-long compositions built from extended sessions that were cut and edited by Davis and producer Teo Macero. It was dense, sometimes difficult, often beautiful music, requiring active engagement on the part of the listener, and also an open mind. Rock writer Lester Bangs might have said it best when he described it as “part of a transcendental new music which flushes categories away and, while using musical devices from all styles and cultures, is defined mainly by its deep emotion and unaffected originality.”

For Bitches Brew (1970), Davis expanded his band, as well as his vision. A given track might have featured, in addition to his trumpet, two or three electric pianos, saxophone, bass clarinet, one or two electric basses, two drum kits, one or two additional percussion pieces, and electric guitar. It was a tempest coming out of the speakers, with intricate compositions to match that gave the maelstrom a form and power virtually unheard of in jazz at the time.

The mastery of Davis and band on Bitches Brew has never been clearer than on  Sony’s new Legacy Edition, commemorating the 40th anniversary of the record’s original release. Though the bonus tracks are questionable additions (we’re not sure why sub-three-minute “single mixes” of four of these cuts were needed in the first place), the pristine sonics of the remastered discs bring all manner of nuance into full relief.

“Pharaoh’s Dance,” which opens the record, has an insistent yet understated groove, which enables Davis to steer and pianists Chick Corea and Joe Zawinul (who composed the song) to throw sparks at will. Davis himself sounds particularly fierce on “Miles Runs the Voodoo Down,” foreshadowing some of the dark themes and sounds he would build in later “fusion period” live albums like Agharta and Dark Magus.

Those records would go deep into the funk of the early ’70s; here, Davis’ vision is more in line with the wide open textures of late-’60s rock. You can hear it in the rhythms of “Spanish Key,” which are as simultaneously unfettered and locked-in as were the Grateful Dead’s two-headed percussion hydra at the time. Guitarist John McLaughlin is all blues in “Spanish Key,” but given to shorter lyrical bursts in Bitches Brew‘s title song, in which the instruments bounce around and into one another in a fabulous blanket of echo. In some ways, you can hear elements of ’70s fusion, noise rock, and even prog take root in these fertile moments of brilliance. There was certainly enough here to take as inspiration for a long time to come.

The music of Miles Davis, Bitches Brew in particular, served as inspiration to Sam Calagione, founder and president of Dogfish Head Craft Brewery, a Delaware-based creator of fine “off-centered ales” with a seriously devoted following (this writer included). To celebrate the 40th anniversary of Bitches Brew the album, Dogfish has created a limited edition Bitches Brew beer – a marvelous combination of three parts imperial stout and one part honey beer.

May we suggest drinking your 750 ml bottle of Bitches Brew beer while watching the DVD included in the Bitches Brew Legacy Edition set, an hour-plus program taped in Copenhagen in 1969. Open the beer and take a whiff – you’ll notice the deep bouquet, almost like a wine that’s aged in mahogany. Put on the DVD and watch the band – all acoustic, except Chick Corea’s electric piano – launch into the cosmic groove of “Directions.”

Pour some beer into a wineglass or brandy snifter – no pint glasses; this stuff is meant to be savored, slowly, in small portions. Notice the opaque brown in the glass, the tan head; take another sniff as air hits this elixir and the woodiness of its scent comes to life. Take a sip and revel in that malty first hit, that lingering bitterness. Give it a moment to sink in.

Watch the band bounce off one another, particularly Corea and drummer Jack DeJohnette, weaving in and out of one another’s path, pausing only to listen to a note, a snare hit, something to push the conversation into its next phase. Hear saxophonist Wayne Shorter expound at great length on a theme, echoing a phrase from Davis’ own horn, or pulling a fragment from his leader and expanding it. Marvel at how muscular the band sounds, how tight – it’s not as expansive as the massive Bitches Brew ensembles, but just as strong in its own right.

Take another sip, this time leaving the beer in your mouth a few seconds before swallowing. Notice the sweetness of the honey beer gently touching your palate before the bitter wave washes back again as you swallow. Notice the chocolate and coffee tones in that wave as you think to yourself how seeing the music being made onscreen makes it all the more inspiring – a young, cool Shorter in the final stages of his apprenticeship with Davis (soon to launch Weather Report); a young, hippie regalia-bedecked Corea, coaxing just the right notes from his piano; a powerful Dave Holland, fingers flying over his upright bass’ strings, keeping up nicely with the propulsive forces around him.

Note that there is something special about seeing Davis play, watching him at arguably the height of his creative power, making powerful new music, in complete control of his band, while being led by his muse. Take another sip. Drink it all in. (Sony Legacy 2010)

Miles Davis’ MySpace page
Dogfish Head Craft Brewery’s Web Site

Click to purchase Bitches Brew at Amazon.

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