Books

Moby Dick: American Chowder

Sean Murphy

'Reduced to more practical terms, if Jazz music is gumbo -- and it is -- the archetypal American novel, with Moby Dick as its progenitor and arguably its apotheosis, is a chowder.' Sean Murphy takes a new look at an old classic.

If, then, to meanest mariners, and renegades and castaways, I shall hereafter ascribe high qualities, though dark; weave around them tragic graces; if even the most mournful, perchance the most abased, among them all, shall at times lift himself to the exalted mounts; if I shall touch that workman's arm with some ethereal light; if I shall spread a rainbow over his disastrous set of sun; then against all mortal critics bear me out in it, thou just Spirit of Equality, which hast spread one royal mantle of humanity over all my kind! Bear me out in it, thou great democratic God! castaways, I shall hereafter ascribe high qualities, though dark; weave around them tragic graces; if even the most mournful, perchance the most abased, among them all, shall at times lift himself to the exalted mounts; if I shall touch that workman's arm with some ethereal light; if I shall spread a rainbow over his disastrous set of sun; then against all mortal critics bear me out in it, thou just Spirit of Equality, which hast spread one royal mantle of humanity over all my kind! Bear me out in it, thou great democratic God!
-- Moby Dick, Chapter 26


When it comes to the state of the American novel, there is nothing -- or at least, not very much -- new under the sun. And this is not entirely a bad thing. Not when most avid lovers of literature reluctantly acknowledge that the prospect of reading all, or most of the great works of fiction in one lifetime is an unattainable ambition. Sad, but true, and because of this incontrovertible actuality, a well-intentioned or would-be aficionado must aim to separate the proverbial goats from the sheep, and ensure that the books that really matter stand at the top of the list.

For instance, when's the last time you feel in love with an author and went out and spent a month, or a summer, or a decade devoting your attention to their oeuvre? Even when, like in love, you are lucky enough to find that soul mate of an author, how often do you get the chance to indulge yourself? And then there are the authors you should want to absorb. Have you read all of Dostoyevsky? (Shame on you). All of Shakespeare? (No? Then get thee to a video store). All of Faulkner? (Don't worry, no one else has either).

The point is, as Tennyson proclaimed, art is long and time is fleeting. And it would seem that because of unexceptional high school and college teachers, the prospect of actually reading a novel is accorded roughly the same anticipatory anxiety as a root canal. This is unfortunate, and the authors of these great books should not be punished simply because most professors are unable to convey the joy that can, and should, accompany the act of reading for pleasure.

Good music and good literature have always seemed to intimidate, or bewilder otherwise open-minded individuals. This is doubtless at least in part due to teachers and critics seeking to justify their own intellectual enterprise by conferring upon art an ivory halo that renders it unreachable by average, simple-minded citizens. Rather than regarding, say, Jazz music or a 19th Century novel as sacred relics conceived by sullen saints, perhaps it would be beneficial to acknowledge, even endorse the actuality that most of these works were produced by individuals whose lives were as conventional as their creative minds were exceptional. Or, reduced to more practical terms, if Jazz music is gumbo -- and it is -- the archetypal American novel, with Moby Dick as its progenitor and arguably its apotheosis, is a chowder.

Chowder?

Listen: so many novels are meat, or potatoes, or broth, or milk (often watery milk that becomes increasingly rank and repellent as it stands on the counter, or in the bookshelf as the case may be), or a smattering of vegetables. It is the rare and precious novel that is able to (indeed, one that even seeks to) satisfy on multiple levels, aesthetic as well as technical, a work that amuses as well as inspires, a book that informs as well invigorates -- a novel that augments or reaffirms one's belief in what the novel, that most indefatigable form of artistic expression, can do.

Can novels do this? Yes.

What type of novel? Moby Dick.

It is exceedingly ironic that in an age where cantankerous crusaders of classic literature are defending that increasingly endangered species, the not-so-great white male author, there is a text that actually exists which can satisfy both the hegemony-in-a-haystack-hunting Derrida disciples and the pugnacious proponents of tradition: Moby Dick.

The book's author, Herman Melville -- despite getting the unfair (and unjustifiable) tag of boring old white guy, author of the quintessential boring old white guy book about a boring old white whale, not to mention a handful of equally impenetrable short stories (while most high school students are instructed to read Bartleby The Scrivener, most of them -- at least partly due to the unfortunate baggage associated with its author -- would prefer not to) -- is, in fact, quite accessible. Really.

But accessibility is often the enemy of integrity. Why not then celebrate the all-too-infrequent instance that proves to be the exception to the very rules it rewrites? Like any truly lasting piece of expression, the writings of Melville not only have stood the intractable test of time, they incredibly -- miraculously -- are as viable and valuable to today's dissolute and desperate, but not altogether dissimilar world. Perhaps resulting from the ever-mercurial moods of the left-leaning academic aristocracy, it has become ironically admissible to dismiss Moby Dick as it once was to venerate it. This would be an unexceptionable development but for the fact that for all the right reasons, this classic American text is also pioneering in its puissant, often sardonic assaults on institutions ranging from the patriarchal status quo, to slavery, to the Puritanical thought-police who cast a long, lamentable shadow on early U.S. history. This book celebrates our itinerant American roots and the notion of positive, peaceful diversity not as an apologetic ideology, but as an empowering, imperative axiom. Melville empathized with the underdog and more important, he understood them -- he was one -- and his real life experiences help inform the poetic prose that allows these otherwise unrenowned heroes to sing the songs of themselves, proceeding Walt Whitman's masterpiece by a half-decade.

So: a novel that fulfills on almost every conceivable level, a meditation on our individual essence as well as the push and pull of our similitude as human beings adrift in a turbulent universe that not a little resembles the untamed sea.

If the current, confessional model -- a facile forgery not even attempting to entertain, or engage in the possibilities the novel provides -- is a bouillon cube: add water (or, the easily-invoked tears of an undiscerning reader) than we might recognize the depth and substance of the real novel. No short cuts, all ingredients carefully chosen, cleaned, cleaved, and combined, simmered slowly over the steady flame of inspiration, seasoned with erudition and integrity, stirred with the passion of purpose (a purpose opposite of navel gazing), and served with the unwavering arm of a confident and direct desire to communicate. It's that simple, that impossible.

And yet, even the richest, most savory bowl of chowder can sustain one for a limited time, one meal per person. This is why art is sustenance for the soul, a benevolent gift that keeps giving. Find a novel and you've found a friend for life, a companion that should lend support and inspiration for any earthly endeavors.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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