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:Â “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?
(*Spoken as Jimmy Fallon doing wacky FM DJ*) And we’re back! Actually, we were planning on being back a few weeks ago, but Andrew McMahon, lead singer and songwriter of Jack’s Mannequin, is a tough guy to pin down. Turn your back on him for a second, and he’s peeled off in his tour bus to do another four months of dates. We caught his final show with Guster last month, and it was a blast, especially when the two teamed up for a cover of Peter Bjorn and John’s “Young Folks.”
The Mannequin’s third album, People and Things, was released last week, and when McMahon finally decided to sit down and rest for a second, we were quick to strike: Tell us the 10 songs rocking your world at the moment, or your piano bites it. Surprisingly, there is little piano to be found here, but there are lots of happy techno beats. Rave on, rave on.
“Safe and Sound,” Capital Cities
A great tune in the indie/techno vein.
“Our Hearts Are Wrong,” Jessica Lea Mayfield
“The only time I miss you is every single day.” That says it all.
It’s nice to see that ’60s lounge cool has yet to go out of style. Heck, if anything, it’s making a big of a comeback in the indie community. Jon Fratelli put his “Chelsea Dagger” day job on hiatus in order to make a boy/girl ’60s pop record with his wife’s best friend (they’re called Codeine Velvet Club, and they’re super cool), and let us not forget the ultimate hipster, slightly retro boy/girl duo the Bird and the Bee, whom the blogosphere keeps trumpeting, even though their tribute album to Daryl Hall and John Oates left us cold. More than cold, really. Frozen.
Enter the Moor, boldly going where, well, no one has made money in decades. This is to our immense gain, of course, not to mention some up and coming filmmaker who wants to use a Nancy Sinatra song without paying for a Nancy Sinatra song. “Warm Winter,” the leadoff track to their self-titled album, actually brings to mind a couple of bands from across the pond, with an extra jump over a fjord – Club 8 and the Acid House Kings. Those bands, like the Moor, are boy/girl duos, and all three are suckers for the mellow ’60s vibe, not that there’s anything wrong with that.
We were disheartened to learn that Warner Bros. would not be screening “Sucker Punch,” Zack Snyder’s “Alice in Wonderland with machine guns” fantasy adventure flick, in our market. Warners is usually very good about showing us their wares, and the last two times they passed us by, it was because they had something to hide (“Cop Out,” “The Rite”). Which of course has us concerned that “Sucker Punch” is going to be a dud, even though it has the best title since “Hot Tub Time Machine” (or “Hobo with a Shotgun”) and the trailers make it look, at the very least, like a total blast.
Further adding to our disappointment is the recent acquisition of the movie’s (spectacular) soundtrack, which sports cover versions of modern rock classics (as well as two psychedelic standards) remodeled as widescreen epics. Actually, calling these tracks cover versions is patently unfair, given the work that went into their arrangents. These are mini-operas, where even the most straightforward of songs will bend, and swoop, or change speeds, until they ultimately explode. Check the positively chilling version of “Sweet Dreams (Are Made of This)” that opens the album, or the heartbreaking, string-kissed version of the Smiths’ “Asleep.” The two ’60s nuggets lend themselves the best to the style, though, and they chose two doozies in “White Rabbit” (yes, it’s overdone, but it works wonderfully here) and the Beatles’ “Tomorrow Never Knows,” which is stretched out to a full seven-and-a-half-minute freakout. If there is a misstep, it’s the Queen mash-up. Yes, we get it, hip-hoppers love Queen beats, but the pitch shift they applied to “I Want It All” just sounds wrong.
Simply put, “Sucker Punch” is the ballsiest, most ambitious soundtrack since “Moulin Rouge.” It’s nice to see someone think of pop songs in a broader, grander sense than “Let’s come up with the most hipster-y compilation ever assembled.” We can’t wait to see how these songs work as the backdrop to Snyder’s visuals.
Forming a dream pop band is one of the ultimate acts of devotion one can commit. No band in the genre ever rose above cult status in terms of sales, but the ones that have done it well will live forever. You have to think that Austin quiintet Candi and the Strangers knows that their commercial potential has a visible ceiling, but God love them for reaching for it anyway. The band’s sophomore effort, 10th of Always, is like listening to the thoughts of a cool girl in love. She feels the same things that everyone else feels but refuses to let it show, so even when the songs swoon – and boy, do they swoon – it’s done so with impeccable taste and composure, and perhaps a bit of detachment. Cool girls don’t lose their shit, you know.
Fans of Blondie are going to lap up this album, and not just because “Femme Sonique” is a toned-down re-write of “Atomic.” “Nico Regrets” captures both the smooth and edgy aspects of Blondie’s sound, and the epic closer “The Weather Is Here, Wish You Were Beautiful” is like the Jesus and Mary Chain getting their hands on some lost girl group song and turning it inside out. “Glide,” meanwhile, is positively blissed. There are times, though, when singer Samantha Constant’s vocals are a bit too far down in the mix, and despite the album’s consistently strong songwriting, it takes several listens before some of the songs leave a visible footprint. But such is love, even with a cool girl – you take the good with the bad, and with 10th of Always, it’s all so pretty that complaining about imperfections seems petty. (Candi and the Strangers 2011)