1. Put your iTunes on shuffle. 2. For each question, press the next button to get your answer. 3. YOU MUST WRITE THAT SONG NAME DOWN NO MATTER HOW SILLY IT SOUNDS! 4. Tag 10 friends who might enjoy doing the same as well as the person you got the note from. (Got this from KingT)
1)IF SOMEONE SAYS "IS THIS OKAY" YOU SAY... Smoke | Natalie Imbruglia
2) WHAT WOULD BEST DESCRIBE YOUR PERSONALITY? Love – Emi Maria
3) WHAT DO YOU LIKE IN A GUY/GIRL? Over the Rainbow | Crystal Kay
4) HOW DO YOU FEEL TODAY? She Live In My Lap | OutKast
5) WHAT IS YOUR LIFE'S PURPOSE? Lets Go Out Tonight | Paula Deanda
6) WHAT IS YOUR MOTTO? Dance Dance | Booty Lub
7) WHAT DO YOUR FRIENDS THINK OF YOU? Breaks My Heart| Monica
8) WHAT DO YOU THINK ABOUT VERY OFTEN? Life Is Like a Musical | OutKast
9) WHAT IS 2+2? Answering Machine Skit 1| Lil Kim
10) WHAT DO YOU THINK OF YOUR BEST FRIEND? I Don’t Really | Yummy Bingham
11) WHAT DO YOU THINK OF THE PERSON YOU LIKE? Still Believe | Shola Ama
12) WHAT IS YOUR LIFE STORY? Time Is Up | So Plush
13) WHAT DO YOU WANT TO BE WHEN YOU GROW UP? Mo Better | Raheem DeVaughn
14) WHAT DO YOU THINK WHEN YOU SEE THE PERSON YOU LIKE? I’m yours | Jason Mraz
15) WHAT DO YOUR PARENTS THINK OF YOU? VooDoo | PitBull
16) WHAT WILL YOU DANCE TO AT YOUR WEDDING? Gospel Medley | Destiny’s Child
17) WHAT WILL THEY PLAY AT YOUR FUNERAL? Summer Jam | UD Project
18) WHAT IS YOUR HOBBY/INTEREST? It Just Ain’t Right | Neyo
19) WHAT DO YOU THINK OF YOUR FRIENDS? Grip Your body | b.o.B.
20) WHAT'S THE WORST THING THAT COULD HAPPEN? Bowtie | Outkast
21) HOW WILL YOU DIE? Feelin U | D-Ground
22) WHAT IS THE ONE THING YOU REGRET? You | May J.
23) WHAT MAKES YOU LAUGH? Fire | Tiffany VillaReal
24) WHAT MAKES YOU CRY? Bloc Party Helicopter Remix | Steve Aoki
25) WILL YOU EVER GET MARRIED? The Morning After | Deborah Cox
26) WHAT SCARES YOU THE MOST? For Me | DOUBLE
27) DOES ANYONE LIKE YOU? Out Here Grindin| DJ Khaled
28) IF YOU COULD GO BACK IN TIME, WHAT WOULD YOU CHANGE? Easy Breezy | Utada Hikaru
29) WHAT HURTS RIGHT NOW? Fuck y You and Suck You | Khia
30) WHAT WILL YOU POST THIS AS? Taboo House Nation Sunset In Ibiza Remix | Koda Kumi
Take two songs, one from each of the discs on Beirut's latest double EP release and you start to get an idea of the package's split personality. "My Wife" and "No Dice" are both instrumentals, but that's where the similarities seem to end. The former is a drowsy, swaggering waltz complete with bombast horn section, while the latter is an electronic-tinged stomp propelled by drum machine percussion and wrapped in glowing synth lines. Zach Condon, the man behind the Balkan gypsy-folk outfit has, for the first time in one release, put his staggeringly contrasting artistic extremes on full display.
March of the Zapotec, the first of the discs, picks up where 2007's The Flying Club Cup left off, with Condon's romanticized lyrics set to all the eclectic instrumentation you've come to expect from a Beirut album. This time around though, Condon has enlisted the help of The Jimenez Band, a 19-piece band from Teotitlan del Valle. The result is a fuller, more lush sound which, when it goes well, really pays off. "The Akara," the EP's highlight, features a dark, moody intro that eases into a picture-perfect synthesis of slow-burning vocal-hooks and exotic Balkan influences. March of the Zapotec's shining moments are few and far between, though, with many of the tracks leaving much to be desired. Aside from the second half of EP-closer "The Shrew," which turns into a smirk-inducing, Hassidic-flavored romp, the rest of the 4 tracks fizzle out without really developing into anything that stands out over previous Beirut material.
Fortunately, Holland, the second disc, is able to rescue the release from mediocrity by showcasing a side of Condon's artistry that Beirut fans haven't been privileged to see before. The artwork lists Holland under Condon's old pseudonymn Realpeople that he reportedly used when he was a teenager, perhaps indicating a revival of old musical infatuations. A nearly-complete electronic affair, Holland could be considered a gamble considering the favorable reception his previous Beirut material has garnered in the past few years. Luckly, Holland's new direction pays off in a big way. "The Concubine" in particular finds the marriage of programmed beats and traditional Beirut instrumentation blending together almost effortlessly. The ease with which these two contrasting styles fit together is a bit surprising. By all means, this shouldn't work but somehow Zach Condon is able to pull it off. It's punching horns and swaying accordians meets cascading drum rolls and articulately laid-out bell patterns, all propelling Condon's charming crooning. From start to finish, Holland provides an unexpected and enjoyable listen that's able to both catch listeners off guard and still please in a casual, easily-digestible way.
Released in leu of a proper full-length follow-up to The Flying Club Cup, this double EP package works well for what it is: a collection of scatter-shot material that was worked on throughout 2008. If nothing else, this package deserves recognition as a marked evolution in the musical composition of Zach Condon. But just like Conor Oberst's brief foray in electronic-tinged music with Bright Eyes' 2005 album Digital Ash in a Digital Urn, the only way to tell if this represents a permanent shift in style or just an indication of openess towards new musical ideas is to wait and see. In the end, what we find with the March of the Zapotec / Holland EPs is that no matter what styles Condon is working with, he's still able to vivdly transport the listeners into the peculiliar and intoxicating world of Eastern European gypsy fervor; it's just a shame he's not able to do so more consistently this time around.
March of the Zapotec: 1. "El Zocalo" - 0:29 2. "La Llorona" - 3:34 3. "My Wife" - 2:11 4. "The Akara" - 3:54 5. "On a Bayonet" - 1:41 6. "The Shrew" - 3:44
Holland: 1. "My Night with the Prostitute from Marseille" - 3:07 2. "My Wife, Lost in the Wild" - 3:13 3. "Venice" - 4:02 4. "The Concubine" - 3:28 5. "No Dice" - 5:24
Beirut is beginning to pick up some international steam. Recently, UK fans voted Beirut as one of the most requested acts for this year's ATP Festival in Minehead, England. According to the Ba Da Bing Records website, Beirut will be headlining the days festivities on Saturday, May 9th.
Some Brazilian audiences got their first taste of the band when a popular mini-opera TV series called Capitu recently featured the song "Elephant Gun" as the main love theme. I'm not really sure what to make of this series or the creepy guy in the top hat whose face looks like the V for Vendetta mask, but apparently Beirut is picking up a lot of well-deserved publicity from this, so good for them. Check out a clip:
On the album Spirits, Keith Jarrett plays 18 instruments, using bare-bones multi-tracking to record. These are Keith's notes on the making of the album.
"These tapes were made in my studio in New Jersey without an engineer and without anything but cassette recorders. They were recorded during the month of May-June, 1985 with no purpose other than allowing them to happen; filling a need.
The music was not recorded with the intention of release to the public. During the month or so that the project lasted, I would go into the studio every day and "make" something. There was no "studio" feeling at all because I was alone with the instruments "at home". These instruments have lived with me for quite some time and there is a Pakistani flute (originally a nose flute) that I bought in Sweden in the 60's that plays a central role in these pieces. There also was no program to follow and, by far, most of the pieces were not written at all. Some of them that sound written were, also, not written. Spontaneity is what I worked with. Some flute and drum tracks were recorded "flute-first", others "drums-first". There were no rules followed in sequencing or arranging. When it felt finished it was finished.
Occasionally, when I added one more track, I would listen back and realize it was one too many. Since I could be in complete control I avoided controlling anything (including the recordings themselves). If there is such a thing as cosmic music, that music should certainly be in touch with the earth, which is the largest part of the cosmos to which we have access. What if so called "ethnic music" or "primitive" music really has been cosmic all along? (We've been wrong about other things). We see our mistakes in the name of progress. What if there is only one channel left for remembering this since religion has condoned it in order to survive? What if this channel is "art", because in its deepest sense, its moral sense, it is participation, not separation. What if art is the only way left to penetrate the armor we've built up to eliminate seeing our true nature. What if progress is a hot air balloon, and keeping people alive longer means nothing when there's so very little inside?
There must be something to do. Prayer is the doing of being. It is not asking, it is creating. There are already too many questions that cover up the only important ones. We must do something. We must be something. We must will something. Musicians occupy an interesting place because music can penetrate, even against opinions, as long as it is heard. Electronic music for the moon is just more "progress-filibustering". We try to cover up the less and less we are by wanting more and more we haven't got. What are we? There's a question. We must give up something to know the answer: our blind assuredness, our naive "hope" for the "future", our identity, our personality. It's not like a treasure hunt. We are the treasure, but we don't want the responsibility of caring for it. Our most intimate truths are the universal mysteries. We think that after solving the next problem everything will be all right. ("Let's see, if I could afford a synthesizer, I could be a great musician")
.........one more thing, one more thing, and then........
We need to find the strength to feel what we feel: to be what we are. There's a small sacrifice involved: we must give up what we thought we knew. That "giving up" is the state of surrender (or possession) in which positive, creative music can be made. Anything else is a continuation of our conditioned assumptions. When you drop your attitude towards something, you can see what that thing is. But, first, you must know it in every possible aspect. "Knowing" and "Seeing" (understanding) are totally different in quality. Then, you may enter and drop your pile of goods, separate no more, vital to the core; like the earth; like the cosmos.
I cannot say what I think is right about this music; I only know the "rightness" of it. I know it when I hear it. There is a release, a flowing out, a fullness to it that is not the same as richness or musicality. I can talk about it in this way because I do not feel that I "created" this music as much as allowed it to "emerge". It is this emergence that is inexplicable and incapable of being made solid, and I feel (or felt) as though not only do you never step in the same river twice, but you are never the same when stepping in the river. The river has always been there, despite our polluting it.
This is a miracle, and in this day and age we need it.