PM Pick

Mag Review: Paper

Rachel Smucker

Is it about art? Fashion? Is it actually about paper? I'm not entirely sure how I should go about answering these questions, as Paper magazine is something like a mix of all three. Let's go with this: a magazine that captures the art in fashion … on paper.

This month's issue happens to include a delightful feature that depicts Paper's ideals quite accurately, and only comes once a year: "Beautiful People." But please--don't confuse this with what Cosmopolitan or Maxim might call their "Beautiful People" feature. Each of the 55 artists, fashion designers, DJs, musicians, transsexuals, and others are certainly beautiful in their own way, but were by no means selected based on their physical appearance. Many of them are New York City locals, while others are known in deed, but not in face.

Take Fatima Robinson, for instance, the woman who Paper claims to be "probably responsible for all the dance moves you know." They might be right, at least for America's youngest generations; ever seen an iPod commerical? The "Fergalicious" music video? Robinson is the one responsible for all of Apple's infectious freestyling and Fergie's gyrations, but oddly enough, hasn't yet made it as a household name. This is undoubtedly why Paper chose her as a "beautiful person"--incredibly talented, influential, and underrated.

Most of the other 55 Paper picks are not as internationally well-known as Fatima Robinson, but nonetheless leave their mark somewhere on the world. Take note of Angel Chang, a 28 year-old in the fashion world who makes "tech-advanced designs with experimental fabric"; "nu-disco" producer and DJ Jacques Renault; vintner/mother/art collector Jennifer Rubell. Who are these people and why am I not familiar with their work?

Paper's choice of "Beautiful People" is more than just a statement against the superficial nature of conventional "Beautiful People" lists. Nearly every person impressed and enlightened me with their off-beat passions and creativity. (Chris Evans, actor from Not Another Teen Movie and Fantastic Four? Not so much.)

This feature immediately drew my attention away from the typically fashion-and-makeup-obsessed articles that so often are the center of magazines in this genre. It delves into those people who are interesting, individual, and working to make a difference--which, by creating this list, Paper leads us to believe is synonymous with "beautiful." Grammatically incorrect, but definitely not a bad thing; we could use a little more misplacing of synonyms if it means putting aside our materialism and superficiality.

Skip a few pages back to the "Opinion" section, home of the world-weary and pissed-off. Comprised of four different columns, "Opinion" covers everything from nightlife to fashion week to death row. Perhaps "covers" isn't the best word--these contributors rather erratically leap from one topic to the next, barely linking them together, as if spending more than a short paragraph on any particular subject would slow down Paper's fast pace.

Thankfully, this attention-deficit style does not give way to bad writing. The language is clever, quick, and assertive; think Gilmore Girls with more bite. Take Ann Magnuson, writer of "L.A. Woman," on music promotion: "Reentering the icy waters of the promosexual salmon spawn was about as appealing as a root canal." Glenn O'Brien, "Pop-Ed," on people calling in favors: "Basta! Lay off! Have you tried the concierge button on your Mercedes?"

Clearly, there's a lot of whining going on. So why should anyone want to read it? Perhaps for the same reason we love to read personal blogs, watch videos on YouTube, and steal our sisters' journals -- it's pure, un(der)edited, spontaneous writing. It's the utter lack of inhibition and a sense of "thou shalt not" that draws us to these previously forbidden -- but now celebrated -- pieces of personal artwork.

If only Paper would let its "Opinion" section shine out a little more--besides the lovely feature on French singer and actress Charlotte Gainsbourg, there is no article longer than a page in the entire magazine. True, it is a fashion magazine and, I will give Paper credit, there is some very good photography and a great deal of short pieces on up-and-coming designers. But is it too much to ask for a little more substance?

It is unfortunate that Paper's authors compromise themselves through their brevity; even as a complete stranger to high fashion, I found many of the brief articles (articlettes?) to be begging for length. They are dense with detail, sometimes too much so. It would bulk up the magazine, and give fashion-ignorant people like me a better view of Paper's wonderful selection of obscure and eccentric bits of culture.

While it's not the most fleshed-out magazine, Paper certainly has the potential to be one. Its short takes on designers Sophia Kokosalaki and Isabel Toledo are well-researched, and again, focus on their oft-underappreciated genius. The "Beautiful People" issue left me with a good first impression; let's hope that this doesn't fade with time.

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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