Film

The Front Page: Rolling in the 'Cloverfield'

The big buzz building around the Internet the last two days has centered on a striking new trailer. It features people partying, having fun, all viewed through the various handheld recording devices that have swept across the post-millennial landscape (PDAs, cellphones, camcorders). Suddenly, an Earth-shaking noise is heard. The fun stops. Another massive thud. And then a horrific, otherworldly wail. People start to panic. Before long, we are tossed into a chaotic, first person POV destruction of New York City, including mandatory symbolic obliteration (poor Statue of Liberty) and some very familiar movie monster noises (Toho, anyone?). The unusual clip – no narration, no major marketing tag lines – suddenly cuts to black. On the screen, the following title cards appear: “From J.J. Abrams” and “1/18/08”.

Fans of the Alias/Lost creator, fortunate enough to see (and in some cases, unlawfully capture) the teaser as part of the Transformers theatrical preview package, immediately rushed home and searched the Internet Movie Database for some clue as to what this proposed film, code named “Cloverfield”, was really all about. Many speculated that it would be the long dormant Godzilla sequel, which made sense since Abrams was the creative force behind the Mission Impossible franchise reboot and is currently developing a Star Trek reimagining as well. So why not give the big green radioactive lizard another shot, right? Well, that rumor was quickly nixed when studious fans recognized that Paramount (the company behind the new film) does not own the rights to the character.

Others have guessed that, based on the movie it was attached to, it may be another ‘80s cartoon title (the prime suspect: a proposed live action version of Voltron). Of course, that was also immediately negated when a World Wide Web search found readily available information on said project – and Abrams name was nowhere to be seen. From another alien invasion ala Independence Day to something called The Parasite that the producer/director has been working on, the fascinating footage – and its eventual bootlegging on the ‘Net – has caused quite a stir. It’s the kind of ‘viral’ world of mouth that marketers are mad about, especially in this interconnected age when a well placed site, a MySpace page, and constant conversation on the numerous movie and fan messageboards can keep an unreleased product viable for months.

Naturally, Paramount has been playing pirate killer, removing the various incarnations of the trailer from all known potential playback portals (YouTube, etc.), though if you look hard enough, you may still be able to find the horrible, hack quality video. Their aggressiveness has lead some to argue that the studio is really behind all the ‘illegal’ activity and is using the whole controversy as a means of generating press (and it’s worked – after all, we’re talking about it here). Through all the denials and determined PR statements, one thing’s for certain – Cloverfield is no longer a non-entity. Among the many 2008 titles generating incredibly early interest (Indiana Jones 4, Speed Racer, The Happening), this still unknown effort has moved right up to the top.

Of course, this isn’t the first time that mysterious images meshed with online elements have generated major movie curiosity. As far back as 1989, when Tim Burton announced that Michael Keaton would play the lead role in his version of Batman, the technically savvy have spent endless amounts of time in stern speculation over movies in production and decisions (both artistic and practical) by filmmakers helming their works in progress. It’s the foundation for immensely popular websites like Ain’t It Cool News and Coming Attractions. Indeed, the fanboy and the obsessive have long known the inherent value of futile flame wars over casting, concept, and characterization. While it may not change the actual movie being made, it sure helps keep the profile high and mighty. Perhaps the best example of such a strategy remains the infamous Blair Witch Project. For almost the entire year prior to its Summer 1999 release, this minor mock documentary became the most celebrated unseen horror film of the decade.

It all began with some secretly distributed videotapes. Filmmakers Daniel Myrick and Eduardo Sanchez wanted a little publicity for their $22,000 experiment, and knew that the growing influence of the Internet could help. As a highly believable webpage was being built centering around the movie’s mythos, the guys sent out copies to various sites. One influential individual who received a copy was AICN honcho Harry Knowles. For all his obvious self promotion, this life long film dork adored the film. In fact, it was he who started much of the “is it real, or is it fake” conjecture. His reaction was so visceral, so perfectly aligned with the response Myrick and Sanchez were looking for, that they built their entire campaign around it. It was a strategy they took to Sundance and Cannes.

Thanks to the website, and similar praise from other sources, The Blair Witch Project soon became the talk of the techs. Most of the conversation centered on the “missing” kids who supposedly starred in the film (the actors were asked to keep a very low profile until the movie was released) and how, though many claimed there was no such thing, the town of Burkittsville was indeed home to a vengeful demonic spirit. There was even an uproar over accusations of copycatting and outright plagiarism. Filmmakers Stefan Avalos and Lance Weiler were livid when they learned of the Blair Witch plot and format. It seemed sneakily similar to their effort The Last Broadcast, centering on a group of public access show producers who enter the New Jersey Pine Barrens – and never return.

Naturally, all the buildup, all the exposure both good and bad, all the preview screenings (and eventual leaked reviews) and SciFi Channel specials (one supposedly offering the true story of the child killer at the center of Witch’s narrative) lead to unbelievably high audience recognition, and when it finally found its way into theaters at the end of July 1999, it was a monster hit. Everyone, from the most avid horror fan to the mere curious onlooker, just had to see what this mysterious movie was all about. Hailed as some manner of masterwork, The Blair Witch Project has since become a unique, if nominal, genre fluke. It’s a hard film to watch in light of all that we now know about the production, and it no longer carries the ethereal impact it once had.

Yet studios saw how a carefully created package involving both online and standard tactics of marketing and awareness could generated immense interest (and larger than usual box office dollars). Warner Brothers jumped on board early, using the incredibly evocative tagline “What is the Matrix?” and a similarly named Internet address to begin the build-up for it’s proposed virtual reality thriller. The company followed suit by lobbing various rumors about the casting and storyline for their proposed late ‘90s Superman update (it backfired, more or less killing the project until Bryan Singer came along and jumpstarted it). Of course, the most recent example remains Snakes on a Plane. From the decision to dump the far more mundane Pacific Air 121 title, to the last minute reshoots that upped the film’s previously pegged PG-13 language and violence, New Line went all out catering to the WWW crowd. Some still believe it eventually cost the company (the film was only a moderate hit).

So whatever Cloverfield ends up being (our money is on a gimmicky, one note effort that will be low on spectacle and high on Witch like slacker confrontations), here’s hoping Abrams and Paramount play it smart. It is one thing to involve the rich vein of human curiosity that floods through the various dial-up, DSL, and cable connections across this country. When properly tapped into, said pipeline can produce dynamic dividends. But just like the flawed concepts of focus groups, and advanced screenings geared toward constantly remaking a movie to fit an elusive utilitarian entertainment ideal (the greatest good for the greatest number), you can pay too much attention to the untrained audience and end up killing whatever made your movie distinctive in the first place. The teaser certainly succeeded in its named capacity. It has us interested. It will be five more months before we know if there’s more to this story than hope – and hype.

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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