Film

Surround Sound: Reflections (Burn After Reading/Towelhead/The Duchess)

It is safe to say that there are several kinds of soundtracks, each type geared towards exactly what the filmmaker wants or the narrative needs. Some act as nothing more than metaphysical mix tapes, complications collecting the various pop music tracks secured for a marketing tie-in release. To call it commercial would be stating the bloody obvious. Others act like subtle supplements, doing little more than emphasizing the storyline or subject matter inherent in a film. For these ethereal attempts, the slightest sonic breeze might simply blow it all away. But some scores are wholly reflective, capable of offering the listener an inner mirror. They provide a resource for mimicking the moviemaker, turning their vision into the sonic serenade heard over the Cineplex speakers.

In this edition of SE&L's Surround Sound, we will look at three examples of this rarified reality in action. In each case, the person with pen in hand and orchestra at bay is attempting to play inferred filmmaker, realizing the same style and vision of the person paying their wage. From the latest supporting stance from a longtime creative companion to the luxuriant efforts of one of the few women in the business, each presentation perfectly matches the material on hand - for good and for grating.

Burn After Reading - Original Motion Picture Soundtrack [rating: 8]

If there is one constant in the Coen Brothers oeuvre, aside from the arcane cleverness and attention to old fashioned cinematic detail, it's the music of Carter Burwell. Part folklorist, part sage sampler, this amazing musician has guided every one of the boys bravado movie moves, from Blood Simple to their most recent masterpiece No Country for Old Men. While never nominated for an Oscar (his work on both Miller's Crossing and Fargo deserved at least some minor Academy Award acknowledgement), his themes have become the sonic signatures for the Coens' complex aesthetic. His most recent collaboration with the filmmakers - the fantastic Burn After Reading - easily reflects the same anarchic attitude the brothers attempted when bringing the surreal screwball comedy to the big screen.

The main approach taken by this unusual film is that all romance is like high espionage. As a result, the Coens create a comedic backdrop in which everything - from extramarital affairs to breaches of national security - is treated within the same ersatz-thriller ideal. Burwell applies the same schematic energy here, such bracing selections as "Night Running", "Breaking and Entering" and "How is this Possible?" playing like outtakes from a bawdy Bourne provocation. Elsewhere, the composer creates certain themes for specific characters, including a three part piece illustrating the look for love by health club employee Linda and tripwire Treasury agent Harry. Together without other standout tracks like "A Higher Patriotism" and "Carrots/Shot", Burwell defends his position as full fledged member of the Coens' creative consensus. It just wouldn't be one of their films without his amazing musical muse.

Towelhead - Original Motion Picture Score [rating: 5]

Looking over his resume, composer Thomas Newman has provided some sensational aural backdrops for some equally impressive films. From Pixar's Wall*E to Todd Field's Little Children, from Revenge of the Nerds in the mid '80s to the upcoming Revolutionary Road, he has a unique ability to capture the sly subtext of the films he is complementing. After working with Sam Mendes and Alan Ball on the Oscar winning American Beauty (he also received a nomination), it's not surprising to see his name associated with the follow-ups from both men. Road won’t be released until December, but already making the festival and limited release rounds is Towelhead. Alan Ball's directorial debut, centering on the sexual coming of age of a 13 year old Lebanese girl in Texas, is tough subject matter for a movie. Sadly, Newman's score illustrates just how off base this entire production really is.

Made up mostly of ethnocentric beats and faux Middle Eastern influences, this lackadaisical soundtrack does little to amplify the sinister and shocking elements contained in Towelhead. Sequences like "Snow Queen", "Vuoso", and "Rain & Good Weather" feel barely fleshed out, locked in a slow simmering sonic strategy that barely delivers any intrigue. Even worse, when Newman starts with the polyrhythmic drumming and cultural swatches, he seems to be trying far too hard. How obvious is it that a film centering on an Arab teenager in America would be backed by what sounds like the Disney version of a Syrian sword dance. Besides, this score is miniscule in comparison to other efforts. With only eight tracks and a very limited running time, this feels like something Newman tossed off from the top of his head. Even a movie as miserable as Towelhead deserves better.

The Duchess - Music from the Motion Picture [rating: 7]

It is unusual to find women working in the mostly man's world of film scoring. It's not for lack of talent. Instead, the studio system and their approach to soundtracks apparently still have a very high, and very unnecessary glass ceiling. Rachel Portman has clearly broken through, although not with the kind of commercial and critical respect given to her more masculine counterparts. Working in film since 1982, she's provided the sonic setup for such interesting efforts as Mike Leigh's Life is Sweet, the Johnny Depp vehicle Benny and Joon, and most recently, the 'other' Truman Capote/In Cold Blood film Infamous. She even has an Academy Award for her work in Emma. Yet it's clear that as a facet of a film, Portman perfectly matches the moviemakers she's paired with. Never overstepping her bounds or breaking the tone established, she ends up offering the kind of support that few composers can claim - unobtrusive but totally necessary.

It's the same with her creative classic revisionism for The Duchess. Featuring Keira Knightley and centering on the scandal plagued life of 18th century aristocrat Georgiana Spencer, Portman's pieces here sound like found chamber music from a noted master's overflowing filing cabinet. From perfect little tone poems like "I Think of You All the Time" to more majestic works like "Some Things Too Late, Others Too Early", Portman's methods segue perfectly into the noted legends on hand. Indeed, she doesn't sound out of place among Beethoven or Hayden, both of whom are represented here. Certainly, there is a more contemporary bent to some of the selections, including the suggestively named tracks as "Gee and Grey Make Love" and "Rape", but for the most part, The Duchess lilts along on the kind of antiquated atmosphere that seems perfect for this kind of period piece. Such a situation brings out all the British in this smart English artist.

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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