Something Must Be Built: Earp: Saints For Sinners #3

A View From A Senior Humanity: What began as a Western has turned to become a careful and profound meditation on how to build institutions the benefit all society.

Earp: Saints for Sinners started off as a superhero story without the spandex. Like Eastwood's Unforgiven or Coppola's Godfather II. It's so much better now…

Earp Saints for Sinners #3

Publisher: Radical
Length: 22 pages
Writers: Matt Cirulnick, M. Zachary Sherman, Colin Lorimer
Price: $3.50
Publication Date: 2011-04

There's a kind of magic that happens, just the right kind of magic, somewhere between M. Zachary Sherman's scripting and Colin Lorimer's artwork. With issue 3, Earp: Saints For Sinners has transitioned from the profound into the sublime.

It's that painted nature to Lorimer's work that gives a sense of the world being a veneer, that somehow this is fake, or should be fake. Or even worse, that we're no longer competent to assess how the fake nature of this small, fictional world is any different from the dynamics that power our own.

What series creator Matt Cirulnick, has always emphasized is that this is a drama about a new kind of society, one powered by very different notions of economy to our own. Cash is king, once again. No more credit, no more financial crashes, at least so we hope. And in executing this vision, Sherman and Lorimer have produced an infinitely-engaging, infinitely-rewarding visual drama of economics.

But primarily, this drama plays off through the angles. Lorimer's over-the-top angles on otherwise ordinary scenes are simply a delight. Take for example a scene early on where Mayor Flynn prepares for his next move, a political move rather than a flat-out assault, against Wyatt and particularly Josephine, the starlet lounge singer who is now a permanent guest at the OK Corral Saloon, and under Wyatt's protection.

It's the kind of scene you've seen hundreds of times before, in dozens of movies. A birds-eye on the office as two men converse. At one end of the office, an expansive, multi-level window provides a unique vista on Las Vegas. But this is also nothing you've seen before. It's not Mayor Flynn standing at the window basking in neon afterglow, but his henchman. Flynn instead, is pacing the office worried about how his new reality show will go down in the media. And the audience themselves, are distanced from this entire scene by the birds-eye view.

The vista below the thug is opulent, but there's no splendor here. This is a poor man's wealth, a fake opulence. It's not the arrogance of Manhattan, it's not the energy of LA, it's not deep and abiding sense of history you get from staring out at Philly or Boston or Houston. It feels like it should for a book tapping the mythology of Wyatt Earp, it feels like the Old West. Just perfectly so. At a time when California was benefitted by the sudden outpouring of trade coming from those who hoped to strike it rich during the Gold Rush, at a time when cities out West were beginning to believe they could rival the great metropolises back East.

Sherman and Lorimer's genius lies in them realizing that a story the scope of Earp would require the same storytelling technique not just for the political machinations of the villainous mayor, but for the heist which forms the primary action sequence of the book as well. The heist sequence is just purely beautiful, gorgeous. It is told in a way that made me take The Dark Knight down from my DVD stand and re-watch that opening heist over and again. Because really, in recent memory, it's only Chris Nolan that even comes close to the fluency and the pure elegance of Sherman and Lorimer's teamwork.

But beautiful as that is, that's not the heart of the book.

The heart of the book is how Matt Circulnick is able to shift the focus of the outputs and the scope of society.

Earp used to be a superhero tale. It's so much better now.

When the first issue kicked off, you could be forgiven for being lured into thinking about it as Eastwood's Unforgiven or Miller's The Dark Knight Returns or Coppola's The Godfather II. This was a book about heroics, about what we hope follows on after heroics (the quiet life of retirement), about being drawn into the fray once more.

This was the high drama of the contractual society. Wyatt would retire, but his brother Morgan was in trouble. In trouble with the Pinkertons and being led astray by the charismatic Robin Hood character Jesse James. It only made sense that Wyatt would mount the moral rescue of his brother and come to blows with James. In a heartbeat he'd drop this ridiculous idea of running a hotel in Vegas, he'd saddle up, and he'd ride off to hunt down James and the Pinkertons. Wouldn't he?

But that's not the story at all. There's something deeper at work here. The joy in reading Earp is that you don't need a masterclass in eighteenth century economics to understand how the terrain has changed. The real struggle here, for Earp himself, is not against James or the Pinkertons, but against social inertia. That hotel represents Earp's intent at caring for others, at building something that cannot be used to exploit people.

It's a beautiful and immortal story. About how pioneers become homesteaders. And it's the story of Earp himself, going in a single lifetime from cowboy to entrepreneur.

Earp: Saints For Sinners #3 comes with the highest praise, and only the slightest regret that soon the series will end.


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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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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