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May. 21st, 2010

Polarity/1 Gives Away New EP FREE MONEY (But You Have To Pay) Released For Free Downloading



Website: http://www.polarity1.com
Music: http://polarity1.com/agitpop/index.php

Polarity/1 recently released his new EP, "FREE MONEY (But You Have To Pay)." The EP is a collection of many songs the artist has written about the free-falling American economy. With this 9 track album Polarity/1 addresses the predatory financial system and those who suffer its consequences.

"Free Money" and "I'm So Broke" were featured in the 2006 documentary "In Debt We Trust," directed by Danny Schechter which predicted the economic downturn and subprime mortgage crisis. Nicknamed "The News Dissector," Emmy Award winning Schechter investigates the criminal aspects of the catastrophe in his latest film "Plunder" which features the songs, "Plunder" and "Home Sweet Home."

Other songs on the album include "Winter In America (Chills To The Bone)," "St. James Infirmary," "Home Sweet Home Cliff's Notes," and "In Debt We Trust Cliff's Notes." All songs were produced by Polarity/1.

The artist Rubio provided additional vocals on "I'm So Broke", while D.A.V. was a guest vocalist on "Plunder" and "Winter In America."

"Home Sweet Home," the venerable classic composed in 1823 by John Howard Payne and Sir Henry Bishop, has been updated with new lyrics by Polarity/1. The blues classic "St. James Infirmary" has received the same treatment. The other songs were composed by Polarity/1; "I'm So Broke" was written by Polarity/1 and Rubio.

P/1 explains the purpose of this new release: "I want these songs to be given away and shared in order to transform the humiliation of being victimized into action for change. The shifting of role of the financial sector from financing a strong national economy to enriching itself has been bi-partisan in its destructiveness. The nightmare of losing a job or a home is not a red or a blue picture."

The FREE MUSIC (But You Have To Pay) EP is available for download at no cost at: http://polarity1.com/agitpop/index.php .

About Polarity/1
The music of Polarity/1 is exactly what the name suggests: conjoined opposites - a mash-up of new: cutting edge electronica/hip hop/nu-jazz and old: roots music of America (blues, funk, country, early jazz), Brazil (samba, pagode, etc.) and West African groove science. "Polar succeeds in his mission of forcing you to pay attention and not lull into the sounds you 'expect' to hear," noted StarPolish.com.

To listen to more of Polarity/1's music, check out his MySpace page @ http://www.myspace.com/polarity1music

Contact: Eric de Fontenay
MusicDish
18-14 Astoria Blvd.
Astoria, NY 11102
(718) 278-0662
ecfont@musicdish.net

Apr. 11th, 2010

ME SO HORNY FOR CSPAN GIRL

by Polar Levine for polarity1.com April 1, 2010

During the 2008 presidential campaign Rich Lowry swooned over Sarah Palin in the conservative National Review ("Hey, I think she just winked at me."). The guy came off like a masturbatory teenager. Not because it's impossible for a politician to have prurient appeal to an adult intellectual. It was the stuff that got him off -- that standard issue babe come-on. Such conservative fantasies. But I get the general premise.

I experienced my own current events hard-on while watching Charlie Rose a few weeks ago. My wife and I have been Charlie fans for years. We love watching him in the throes of verbal paralysis whenever he's interviewing artist types, so intense is his sense of wonder about the "creative process." And his oddly huggable attempts to bathe in the glow of a guest's deftly delivered punch line by repeating the joke minus the funny stuff. He's an astoundingly decent guy who attracts the best and brightest. I especially love the Marathon of Jews aspect of his shows -- so few us left on Earth but so many worthy of a seat at Charlie's table: authors, scientists, medical researchers, musicians, architects, political pundits and Noted Authorities of every kind. And that provides me the opportunity many nights each week to pause the digi-cable box, turn to my shiksa wife and bellow, "You see!!! And look at what your people did to the Jews!!!" But when Charlie had Elizabeth Warren on I got my own current events hard-on.

I testify to you, dear readers -- the moment was delicious. As the Charlie lite-jazz-funk theme faded out she appeared: a casually tidy blonde, bespectacled, perky Boomerette -- a shiksa no less -- who looks every bit the inhabitant of her career path -- Obama Administration bureaucrat, academic, and bankruptcy lawyer. And, yet... pretty in a bureaucratic kind of way. She's currently overseeing the TARP bailout of Wall Street. Finally somebody is providing oversight about something. That in itself can engorge some American genitalia.

I've found her regularly to be loveable (platonically) in mini-interviews with John Stewart, Bill Maher, Keith Olbermann, etc. But Charlie gave her lots of time to ooze into something more comfortable -- her Liz-ness. She initiated the foreplay by outlining the current Great Recession -- how we got there, how everything is being done (and not done) to make sure we stay there and go back there again and again, and the cast of characters who made and continue to make it all happen. She was stunningly accurate. But this was not the equally accurate but burpy repartee of a Paul Krugman or Joseph Stiglitz. Liz croons it like Julie London (look it up) -- she's pure sex. Her lips seem to ripen. Her voice is warm and sweet, but also frankly straight to the point. With amazing clarity she tells you exactly what she wants and why and where. Her explication of complex and ethereal financial exotica is so right and also witty, so personally and palpably felt that it feels like she's talking dirty to me. When she speaks of how real people are affected by the gluttony on Wall Street, K Street and in the halls of Congress you can see real passion in her eyes. Her body opens and relaxes as she leans forward toward me -- well... toward Charlie... but she knows it's actually me. Clearly she knows I'm a sucker for a pretty female (and subtle prettiness is the most seditious kind) who is funny, smart and passionate about useful things.

But when I cool off and return to Earth, I'm a happily married family man and I sort of accidentally noticed that the TARP overseer had a wedding band on. OK. I can't have Penelope Cruz either. But please -- if I can't have Elizabeth Warren slowly removing her Overseer uniform as she tickles my ear hairs with gentle cooing about the need for a stand-alone consumer regulatory board -- at least get rid of Tim Geithner and Larry Summers and make her Treasury Secretary. I swear the world will be a more prosperous and sexy place.

by Polar Levine for polarity1.com April 1, 2010

THE THRILL OF RATINGS AND THE AGONY OF GRIDLOCK

by Polar Levine for polarity1.com March 17, 2010

Lose your job? Can't afford necessary health care? Kids flunking out of school? Your pursuit of happiness finding no suitors? One could be excused for being depressed and/or pissed off. A year ago it seemed sure that the Dems would turn things around and prevent the imminent Decline of the American Empire. But the Republicans have figured out that in the Senate, 41 is the majority. Even after the catastrophic W years they're surging. And it should be no surprise. They learned that depression drains energy while anger, fear and loathing crank up the adrenaline. Legions of sad-sack aging white folks are useless to the Right. Too lethargic to fight for god's favorite nation, they might be vulnerable to actual information and start voting for their own interests. And we all know how those egghead liberals love to explain things. But on the heels of the Sixties New Left, the Right knows that the political honey spot is fear and hate. It feels good to be pissed and know exactly whom you're pissed at. It's an amphetamine rush, an aphrodisiac.

If political propaganda warfare were simply grist for sports chat, it would be dumb but harmless. But the success of the strategy has given Senate Republicans the backbone to shut the government down in the middle of an economic crisis and two wars. Though the media profits by presenting politics as sports, it doesn't do the country any good when the debate revolves around Obama's alleged commitment to communism, health care reform's goal of exterminating everybody's grandparents, refuting climate change with no sense that weather (particularly local weather conditions) and climate are two different things, or the claim there were no terrorist attacks during the W administration.

Recent polls concerning support for the Tea Party movement indicate that the vast majority of those polled know nothing or too little about the movement to have an opinion. That suggests a year of willful and/or time-crunched ignorance on the part of two-thirds of the American electorate. When that majority starts to get curious about what's going on in the world, what kind of information will it respond to -- an elegant and nuanced exposition of complex proposals for much needed reform, or dire warnings of fascist dictatorship with enraged calls to arms?

It's pretty scary when a society, arguably the most powerful and influential in the world, lacks the historical, social, international and political awareness required to make informed electoral decisions. And we have a corporate media machine that has figured out that its news broadcasts will lure more advertising dollars if modeled on sitcoms and dramas: cute anchors with peppy chatter, focus on news that can be accompanied by dramatic video -- violence, tears, scandals followed by Apology As Media Event, and political punditry that favors the most videogenically combative infotainer.

News was always a loss-leader for the TV networks until Roone Arledge took charge of news programming for ABC in the Seventies. After his masterful work in ABC's sports programming, he knew the value of its popular "Wide World of Sports" tagline, "the thrill of victory! and the agony of defeat!" With that ratings-winner aesthetic in mind, he moved news into the entertainment department -- and 40 years later, news as an entertainment medium is now the norm. The best political theater to be had is on Fox News -- by far the most viewed "news" programming on TV. There's one area where America still maintains Number One status in the world -- entertaining itself. And Fox News knows how to entertain. If not for its flair for cynical irony, it would adopt ABC's "Wild World of Sports" tagline in place of its own "fair and balanced." Its narrative could easily be mistaken for The Onion: the health care bill features death panels set up to execute your beloved grandma. Barack Obama, a Muslim native of Kenya, is devoted to enslaving Americans in a Socialist dictatorship that will bring an end to Social Security, Medicare and unemployment benefits -- only to deplete our national treasury on big government entitlements. Its world view also looks approvingly on corporate welfare, the war on drugs and marginalizing gays -- as though these were not as much the hallmarks of “Big Government” as taxes and regulation. This is the news that Fox News delivers and that forms the political knowledge base of many millions of our people.

For this we can thank the most dangerous man in America -- who has done more harm to American society than any terrorist could. A foreigner who feels no allegiance to this nation. Who came over here, paid off legislators to skirt a fundamental rule that prevents the monopolization of information media. Who has turned the media into a wedge that pits one half of the nation against the other half to increase his profits. If raising the level of awareness and the quality of our political process was a ratings winner, Rupert Murdoch would have created Fox News to do just that. CNN made cable a place where serious, in-depth, world-wide news reporting was possible. Murdoch turned cable into the Circus Maximus.

MSNBC, the perennial last place cable news outlet, finally found its niche as the lefty answer to Fox. Its two stars, Keith Olbermann and Rachel Maddow, represent the station's dilemma. Olbermann has presented infrequent but brilliant commentary and Maddow has outed the right wing Christian cult, the Family, and its involvement with Uganda's proposed draconian anti-gay legislation. She has been an invaluable resource for exposing the fraud behind congressional Republican vaudeville. These broadcasts, however, have increasingly taken on the smirking and combative flavor of the Fox crew. A fitting tagline for Olbermann's and Maddow's broadcasts would be, "We'll tell you everything those right wing assholes just said." So Fox, Limbaugh, the Family and the teabaggers provide the content for MSNBC which only confirms that idiocy as legitimate political discourse. Rarely is a Dem narrative THE STORY. Virtually the entirety of Olbermann's and Maddow's broadcasts are devoted to fact-checking the Republican/teaparty narrative with on the one hand, expressions of horror over intentional disinformation and hypocrisy and, on the other, hubristic chuckling over the anticipated embarrassment the perps will face when their constituencies find out the truth. Of course there will be no such embarrassment because the media venues that these people speak through seem uninterested in correcting the record. Maddow makes more sense when she suggests that the serious press should be embarrassed by its default of purpose. By presenting the right as laughably clueless, Olbermann and Maddow are less likely to stir their audiences than Fox which amps its viewers with a steady diet of fear and loathing. While the Left chuckles, the Republicans, who wisely kept W and Cheney out of the 2008 convention hall, give Cheney a standing ovation at the recent CPAC convention. Something serious is going on out there and the Left thinks it's a sitcom.

Olbermann is far more persuasive when he deliveries his "Comments" than when he mugs and mimics. His arguments for serious health care reform, as personified by the struggles of his ailing father, are the most elegant and persuasive works of journalism I've ever encountered. But that stands in contrast to other recent commentary that has trended toward self-parody and invited a hilarious impersonation by John Stewart. Maddow also loses her credibility by devoting ever more time to excruciating attempts at humor. MSNBC has committed its brand to the only strategy now possible for survival on cable info programming -- partisan advocacy of the Left to compete with Fox's advocacy of the Right. CNN clings to an increasingly passive version of objectivity and its ratings are sinking for its trouble. On network TV PBS still does actual news. Did you know that? Oh yeah, and there are the networks. And a couple of newpapers.

MSNBC has found its direction but hasn't found a Roger Ailes to create a unified delivery system that would direct its two stars either to use their impressive journalistic skills full force or join the food fight and sling a messier glop than the competition. Ailes, so far, has chosen the winning format -- get viewers as emotionally amped as possible and direct it toward easily identifiable bad guys. This requires a tightly coordinated narrative that avoids the complexity that might be caused by fair or balanced reporting. Actual professional level reportage would diffuse the element of cataclysmic menace that defines the Fox News brand. Fox is so unconcerned about its lack of credibility as a journalistic enterprise that it goes as far as to actively promote a political movement -- the teabaggers -- and still pantomimes its sincere commitment to its "Fair and Balanced" tagline. Not since Paul's campaign to brand Jesus has there been a more spectacularly successful propaganda machine.

What the Left doesn't get is that right wing infotainers and legislators will not face embarrassment when the truth comes out because their constituencies don't watch MSNBC or read actual newspapers. Lefties are so earnest that they don't get that the Right simply lobs the ball over whatever remains of a serious press. I'm sure the Righties know that their disinformation is bullshit and are aware of all the incriminating video footage. But they know that the narrative sticks to the wall and that the Left will spend its resources setting the record straight instead of creating its own narrative.

The only voices of the Left that have any influence are John Stewart, Steven Colbert, Bill Maher and the pre-senatorially denatured Al Franken. That's because they know what their occupation is and their audiences know it too. They deliver informed political points of view (not without bias), but the info is never delivered without some reference to the oddness of finding themselves in front of TV cameras talking about the news of the day. Their references to their self-consciousness (in or out of character) are, knowingly, an additional layer of information. Unlike Olbermann's and Maddow's lame attempts at schtick -- these guys are funny.

Beck, Hannity and O'Reilly and their regular stable of guests also know they are not "journalists." They know they're entertainers who are skilled at making people scared and angry. Like explosions in blockbuster movies, fear and loathing form the gold standard of right wing infotainment. The Fox crew delivers a coordinated narrative. Each has developed his own character to act it out. Beck has become the most influential of the three, despite his transparently bad acting, because he is the most media-savvy. When he came over to Fox he very consciously took on a persona based on the Howard Beale character in the film, "Network." Like Beale, Beck is driven to tears by the sad state of current affairs and he wants you to scream that you aren't gonna take it any more. Beck is the feminine counterpart to O'Reilly's angry blue collar white guy and Hannity's smug, father-knows-best certainty. Like Barbara Walters and reality show producers, Beck knows that viewers love to see weeping on camera. Unlike Stewart and Colbert, Fox's vaudevillians can thrive only as long as they don't wink. I have to assume that the three morning lightweights are supposed to be the taunting high school in-crowd while Greta Van Susteren is the "serious" one. . .even when she's on camera fawning over Sarah Palin.

The unbridgeable gridlock that now defines the American political system is the only possible outcome when the daily flow of information of huge national and international consequence is niche-marketed like pop music and hair styles. It seems more certain every day that the 2008 Democratic electoral sweep was the result of the catastrophic failure of George W Bush rather than the ability of the Dems to make a compelling case for themselves. It's odd that they've been so far ahead of the media curve online but so far behind the curve on TV. Congressmen Alan Grayson, Barney Frank and Andrew Weiner get it. Grayson cribs off the Frank Luntz playbook -- attaching "death" to all the right nouns. Frank and Weiner mouth off with gusto, and Weiner's loud, grating voice rattles TV's speakers as well as it gets under the skin of conservatives. Unless the bulbous mass of ambivalence that congressional Dems have become gets a super-majority of Andrew Weiner clones, we can expect a one-term Obama administration. And it will boast of spearheading bold placebos of incremental micro-change in the face of multiple crises that foreshadow the historic end of American prosperity. But maybe we're too hard on them. In the Age of Murdoch, if the Left can't deliver its message with the crystal-meth depravity that the Right has mastered, we can expect Glenn Beck to write the first draft of 21st Century America's history.

In November 2012, the day Scott Brown gets elected president, the majority of young voters who made Obama's election possible will be nowhere near the voting booths. They already discovered that it's all nothing but a reality show.

by Polar Levine for polarity1.com March 17, 2010

Oct. 20th, 2009

Audioplasm (Polarity/1 & Rubio) - Guillermo Ate My Lunch

"Guillermo Ate My Lunch" is the opening track of Audioplasm's first CD, Heavy Meadow, which features Guillermo Cardenas on merengue percussion. Audioplasm is a collaboration of two artists from New York
City, Polarity/1 and Rubio. Together they have already scored the soundtrack for the documentary "In Debt We Trust" by Danny Schechter. Polarity/1 himself wrote the music for the award-winning Schechter's WMD (Weapon of Mass Deception). This video, directed by Marc Wagnon & Polarity/1, shows their ability in visual arts as well as their musical eclecticism.

http://www.polarity1.com/audioplasm/index.php


Sep. 23rd, 2009

MusicDishTV: Polarity/1's "The Marvin Stomp" Performed by the Battery Dance Company of New York


Polarity/1's use of broken record sound at the start of The Marvin Stomp makes his song anything but broken. In fact, the introductory sounds are so upbeat that the repetition is quite satisfying. The jazzy twists and swingin beat sure give the performers in the Battery Dance Company something to dance about. Just try listening to these melodies without moving along Polarity/1s eclectic compilation of bouncy, enthusiastic noises which will have listeners dancing inside and out.

http://www.polarity1.com
http://www.batterydanceco.com

The music of Polarity/1 is exactly what the name suggests: conjoined opposites -- a mash up of new: cutting edge electronica/hip hop/nu-jazz and old; roots music of America (blues, funk, country, early jazz), Brazil (samba, pagoda, etc.) and West African groove science. Polarity also describes the dual streams of Polarity/1's musical output: songs and instrumentals.

http://www.itunes.com/polarity%2F1

Aug. 26th, 2009

Polarity/1's "Plunder": A Song for Our Times (Free MP3)


Download Free MP3 Of Polarity/1's "Plunder"

The appropriately titled "Plunder" begins with a Bernie Madoff impersonator admitting to the now infamous ponzi scheme, which has since led to a 150 year prison sentence. As the song progresses, clips from this speech are cleverly inserted throughout the verses. The production is fantastic, and although it’s certainly not organic in nature, the horns and funky bass line keep it grounded, and prevent it from becoming just a jumble of computer loops. With clever lines like "easy credit, easy crime, American dream, death by subprime," Plunder succeeds in portraying the current dismal economic picture. However, despite the grim nature of the lyrics, the track is ironically upbeat, and in the end, it makes you want to dance, even though the subject matter is nothing worth celebrating.
- Will Cohn, MusicDish e-Journal


"Plunder" can be heard in the upcoming documentary by the same name, directed by Danny Schechter. Nicknamed "The News Dissector", Emmy Award winning Schechter investigates the economic downturn and subprime mortgage crisis. Polarity/1 contributes two songs to the film, and even makes a brief cameo appearance. Watch the teaser trailer for Danny Schechter's 'Plunder' documentary.

The music of Polarity/1 is exactly what the name suggests: conjoined opposites -- a mash up of new: cutting edge electronica/hip hop/nu-jazz and old; roots music of America (blues, funk, country, early jazz), Brazil (samba, pagoda, etc.) and West African groove science. Polarity also describes the dual streams of Polarity/1's musical output: songs and instrumentals.

http://www.polarity1.com
http://www.myspace.com/polarity1music
http://www.facebook.com/pages/Polarity1/9214821180

Aug. 19th, 2009

Music From Polarity/1 Featured In "Plunder," An Upcoming Documentary by Danny Schechter

The music of Polarity/1 can be heard in the upcoming documentary "Plunder," directed by Danny Schechter. Nicknamed "The News Dissector", Emmy Award winning Schechter investigates the economic downturn and subprime mortgage crisis. Polarity/1 contributes two songs to the film, and even makes a brief cameo appearance.

Watch the teaser trailer for Danny Schechter's 'Plunder' documentary

The first song that Polarity/1 contributes is the title track to the film. "Plunder" has a funky feel with slap bass, a strong horn section, and creative lyrics. In the beginning of the song, a Bernie Madoff impersonator admits to his crimes. Then, the rap comes in which describes how "greed is the creed, drug of choice" and touches on almost every aspect of the financial crisis; credit swamp, subprime mortgages, 401k's, and of course Bernie Madoff himself. Throughout the song, the horns have a call and response with the melody of the lyrics.

Listen to & download Polarity/1's "Plunder" (rough mix)

The other track, entitled "Home Sweet Home" describes the meaning of feeling at home. Whether its religion, family, or friends, everyone has their own passion that makes them feel at home, and this song describes that feeling. In addition, Polarity/1 makes a physical appearance in the film, and gives his take on the economic crisis.

Listen to & download Polarity/1's "Home Sweet Home"

Polarity/1 previously contributed two songs to Plunder's prequel "In Debt We Trust," including "Free Money" and "I'm So Broke."

The music of Polarity/1 is exactly what the name suggests: conjoined opposites - a mash-up of new: cutting edge electronica/hip hop/nu-jazz and old: roots music of America (blues, funk, country, early jazz), Brazil (samba, pagode, etc.) and West African groove science. "Polar succeeds in his mission of forcing you to pay attention and not lull into the sounds you 'expect' to hear," noted StarPolish.com. To listen to more of Polarity/1, check out his myspace page @ www.myspace.com/polarity1music

www.polarity1.com
http://polarity1.musicdish.net

Jul. 28th, 2009

From New York to the World: Koko Dozo Spreads Global Funktronica

Since the release of their global funktronica debut album, entitled Illegal Space Aliens, Koko Dozo has been receiving stellar reviews all across the Internet. Koko Dozo is a duo made up of multi-instrumentalist/arranger/composer/producer Polarity/1, and vocal diva Amy Douglas. Both members are formally trained musicians, and since meeting up in New York City in the mid-1990's, they have created a noticeable splash in the music scene.

Referring to the track I Know Who You Are, pleasedontstare.com said, "I promise you won't be disappointed. This is beautiful music. Perfect for a Saturday afternoon." They went on to say that "they have some of the funkiest dance music I've heard in a while, as well as some extremely dope ballads and social commentary sprinkled in their as well".

The blog Dancefloor Mayhem has also given Koko Dozo high praise. Referring to The Shine, they said, "This is a really fun house track. Has a great old school vibe. Reminds me of Incognity, Masers at Work and a lot of the quality deep house from Strictly Rhythm circa '93-'95."

Mark Kirby, a writer for Musicdish e-Journal said, "One of the strengths of Illegal Space Aliens...is that there are nine choice cuts on this record. No fluff, just a statement. This should be the new trend. This should also be an example of how to make dance music that is intelligent and cool, not dumbed down to the level of morons in too-tight $90 designer jeans."

Gasper Oliviera, of GBH.tv says "New Yorkers looking for music that embraces their city's cultural diversity ought to check them out. The best way to survive in a melting pot is to get close."

Making this kind of music in the studio is one thing, but live performance is a whole different art form. However, it's clear that Koko Dozo knows how to put on a show. Referring to a video of a Koko Dozo performance, mefeedia.com says that, "Polarity/1 is rocking the guitar while Amy sings her heart out. The song has a bit of an otherworldly vibe at times, but it is without a doubt another great jam for the party at Tubway. One thing is clear from watching both videos - Koko Dozo have a definite stage presence and know how to work a crowd!"

Koko Dozo is a duo of legally alienated New Yorkers -- Polarity/1 and Amy Douglas -- who create a sound they call Global Funktronica: a unique blend of electronica, funk, club grooves, jazz and roots grooves from Brazil, Latin America and Africa. Their lyrics are hilarious, provocative, and powerful, sung in English, Spanish and Portuguese, supported by music that is truly otherworldly, rich, textural and extremely funky.

http://www.kokodozo.com
http://kokodozo.musicdish.net

Jul. 24th, 2009

Polarity/1 Video: Lisbon's Quorum Ballet - Music From The Other Side

Polarity/1's Fulano De Tal is easily one of the most impressive songs in Lisbon's Quorum ballet, The Other Side. This piece allows for an aggressive, yet romantic interplay with the choreography of the dancers while keeping a dark cryptic mood for its audience. Another reassuringly exceptional piece from Polarity/1.


Watch Fulano De Tal

Land O' Debbies adds an alluring sound to the soundtrack of Lisbon's Quorum ballet, The Other Side, and highlights the song with accents of media that permeate the air. Polarity/1 takes inspiration from all forms of art to produce this unique piece of music where chaos and politics are swallowed and spat back out among unconventional electronica and extraordinary melodies.


Watch Land O' Debbies

Music From The Other Side is the soundtrack for a dance performance by Lisbon's Quorum Ballet [based on Polarity/1s music]. The Other Side's principal objective is to fuse the style and art of the dance of Lisbon and New York. The work is the collaboration of choreographers Daniel Cardoso, Jonathan Hollander and Thaddeus Davis, artistic directors of Quorum Ballet, Battery Dance Company and Wideman/Davis Dance, respectively.
http://polarity1.musicdish.net

The music of Polarity/1 is exactly what the name suggests: conjoined opposites -- a mash up of new: cutting edge electronica/hip hop/nu-jazz and old; roots music of America (blues, funk, country, early jazz), Brazil (samba, pagoda, etc.) and West African groove science. Polarity also describes the dual streams of Polarity/1's musical output: songs and instrumentals.
http://www.reverbnation.com/polarity1

May. 4th, 2009

Free electro MP3 from Polarity/1: 'Bring On The Sudz'

Get this player from Fairtilizer!

Polarity/1 - "Bring On The Sudz" (Speechless)
Download Free MP3 | Take a Listen

"With his minimal sound in a complex format, Polarity/1 gives you a huge musical massage. Notes seem to rise out from a basket of fresh fruit and everywhere you can 'see' these mystical exotic sounds. While the first part of 'Bring On The Sudz' is a funky house disco inferno, a saxophone suddenly brings you back to the roots moving to an acid jazz feel. Towards the middle, the song performs jungle-type beats with animated saxophone solos giving the feeling that a new direction is afoot. After 30 seconds of this, it's back on track in 'pithecanthropus' style. Polarity/1 then brings more change, providing listening clarity to a fusion of musical styles. 'Bring On The Sudz' finishes with it's acid jazz signature. Polarity/1 forges his song like a clay sculpture. Orchestrating centrifugal instrumental forces. Absolutely genius." - Nicholas Guida

The album SPEECHLESS by Polarity/1 changes the colors of the room. Things happen. Cheesy cultural artifacts sprinkled on sarcastic spaghetti. Mood music for non-linear equations and unlikely postures. Doesn't require drug-ingestion... IS drug ingestion. The grooves moves and the sex is textural. Beat science for curved dancefloor.
http://www.itunes.com/polarity1/speechless

The music of NYC-based POLARITY/1 is exactly what the name suggests: conjoined opposites -- a mash up of new: cutting edge electronica/hip hop/nu-jazz and old; roots music of America (blues, funk, country, early jazz), Brazil (samba, pagoda, etc.) and West African groove science.
http://www.facebook.com/pages/Polarity1/9214821180

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