Editor's Choice

Necessary awkwardness

Vanessa Grigoriadis's carefully balanced article in New York magazine about Facebook basically boils down to this: The social networking thing is neat for people in their 30s because they get to find lost loves, etc., but then it gets kind of boring and/or creepy. As I was reading it, I had a strong impulse to destroy the Facebook profile I have. I don't really use it for anything. It's more of a post-office box I check now and then to see if anyone surprising has thought about me. Am I using it wrong?

I'm not sure if it makes more sense to not log in very much or not have a profile altogether; I don't want to be invisible to the people who might try to find me on the site, but I don't want to be responsible for updating it, nor do I want it to fall out of date altogether. But the idea of "sharing" on it -- well described by Grigoriadis as "the most important Newspeak word in the Facebook lexicon, an infantilizing phrase whose far less cozy synonym is 'uploading data' " -- is pretty off-putting to me. My writing here, though I sometimes draw on personal details, is ultimately meant to be impersonal. At least, I hope it's interesting to people who don't know anything about me. But if I were updating Facebook, I would feel as though I was rubbing people's noses in the glory of my life, such as it is. Perhaps I would rather share time with people than information -- or would rather that the information shared emerged from a reciprocal, real-time exchange, not from a mediated broadcast.

I can't say I derive much voyeuristic pleasure from Facebook either, the sort that Grigoriadis describes. It all makes me feel uncomfortable. Information that is thrown at me without context, with Twitter-like brevity, doesn't feel like "ambient presence"; it seems like irritating static. And it has tended to diminish my memories of the people, who before Facebook's advent, I used to wonder about. Now that I can find out what they have been doing, I already sort of know, and it's dull. They are living their lives without reference to me, of course, but they are seeming to force me to know about it, and the only way I can fight back is with broadcasts of my own. But then I'd just be perpetuating the spiral. I guess I'm selfish like that. I want messages tailored to me personally; I don't want the every-hour equivalent of the mass-mailing Christmas card.

It's a bit like being trapped at an elementary school talent show (though that might be the most patronizing thing I have ever written). People seem to be trying to hard, or are entirely unaware that they should be trying, or -- like me -- they have just frozen up there on the stage. Or to use a slightly different metaphor, Facebook is like being at one of those theatrical performances in which there is surprise audience participation. I find this incredibly embarrassing, no matter who is induced to participate.

But what really bothers me about social networking is something that Grigoriadis celebrates (though maybe it's just a rhetorical strategy to achieve that balance): the way it trivializes intimacy.

This is part of the magic of Facebook, where many actions that take on weight in the real world simply don’t pack the same punch: You can reconnect with long-lost friends without a gooey, uncomfortable e-mail about why you grew apart; you can forget to return Facebook e-mail and nobody minds; you can click obsessively on someone’s profile and there’s no way for him to know it.
But maybe we shouldn't blow off the attempts people make to communicate with us or have a service to make us feel okay about it. If it's okay if someone doesn't respond when we try to reach them, than that communication is taking place within a vacuum; it's not meant as communication at all but is instead a posture, a pose. Look at me, reaching out to you. And also, without the gooey emails Grigoriadis spits on here, the reconnection between old "friends" is merely nominal; it's a pretense, a fantasy, insignificant. And sadly, it precludes the possibility that the gooey email will ever be written. Without such communication, the world -- the "social graph," as Facebook's executives like to call it -- is diminished. Yet Facebook seems to exist precisely to obviate awkward discourse.

But awkwardness is inescapably necessary. It's an almost physiological signal that something emotionally significant is taking place. If Facebook eradicates such feelings by giving us such granular privacy controls that we prevent the possibility of embarrassment, then our lives become poorer, emotionally. The people we connect with through the site seem less than real people; they seem like shadows of the real people we thought we knew -- the reality of these "friends" remains offline and even more inaccessible. In the place of intimacy, we have the more convenient alternative of user friendliness, the triumph of a new, corporate-mediated politesse.

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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