TV

The Marriage Ref: NBC's Next 10 p.m. Revolution?

When NBC moved Jay Leno to ten, the network thought it was going to change the very face of TV. The goals in developing Jerry Seinfeld's The Marriage Ref were undoubtedly more modest. But Jerry may yet succeed where Jay failed.

The post-mortem on the Jay Leno failure has been extensive. According to pretty much everyone, the 10 o’clock hour is safe for scripted drama again. Already the Law and Order and CSI clones are flooding into the networks for this development season. All is right in the world.

Or maybe not. As the goofy closing ceremony of the otherwise stellar Vancouver Olympics ended abruptly on NBC, the network unveiled its latest effort to revolutionize almost-late-night TV: The Marriage Ref.

The Marriage Ref is the most bizarre hybrid of a show that I’ve seen in a long time. It is everything that the 10 p.m. iteration of Jay Leno was not. It manages to feel both familiar and original. It is comforting and a bit weird. It is fitfully funny and, for a show about married couples fighting, strangely devoid of conflict.

This is a mash-up of the highest order. At its core, The Marriage Ref is a reality show. The basic premise is that married couple who are in the midst of an argument allow the Marriage Ref -- comedian Tom Papa -- to decide who is right. It is one part Judge Judy and one part Jon and Kate Plus Eight (minus the horrific meltdown of the family unit).

In the pilot, the two couples are arguing about, in turn, whether the husband can keep his dead stuffed dog in the foyer, and whether the husband can install a stripper pole in the bedroom. Right there you have the first right move of the show. Clearly, the couples’ arguments are all going to be sitcom plot lines that are so ridiculous that neither spouse could be truly mad about them. As long as we’re not watching marriages dissolve before our eyes -- hello again, Jon and Kate -- we can all enjoy ourselves.

And at least in the first episode, the two couples were fun to watch bicker and they actually seemed to love each other. It is a little hard to imagine though that the show is going to be able to find enough couples who have both the ability to argue playfully and have bizarre things to argue about. If the producers can pull that off, they’re in good shape.

That concept on its own would probably make for an interesting enough show, but The Marriage Ref added a second important element: celebrities. This is where Jay Leno should be kicking himself for not being more innovative with his own opportunity. After all, providing a platform for A-list celebrities to supposedly be themselves is kind of his thing.

In the first episode, you had Alec Baldwin, Kelly Ripa and Seinfeld himself riffing on the video footage they had just seen. None of them mentioned a single project of their own. Obviously, anytime a celebrity is on TV it is self-serving, but by not actively shilling for a show or movie like on the late night talk shows, the audience doesn’t feel quite as used. Dare I say, I was even entertained and reminded why people like celebrities in the first place. It was kind of like watching the '70s game shows that I used to love like Hollywood Squares and Match Game where a group of celebrities helped a poor shlub win something. And they were happy to do it.

The clips of future shows included stars such as Ricky Gervais, Madonna, Larry David, Tina Fey, and did I actually see Sarah Silverman? Let’s just say that Jerry Seinfeld has a much more interesting Rolodex than the rest of us. I left wanting curious about what they had to say. (Just as an aside, I personally would much rather hear celebrities talk about stupid arguments than "important issues of the day" like you get on the kissing cousin panel shows that Bill Maher specializes in.)

If The Marriage Ref is successful, it could start a revolution at 10 p.m., but don’t mistake that for being in any way revolutionary. This is throwback comfort TV. Stupid jokes rule the day. There is no cutting edge here. It’s like a warm glass of milk that gets you ready for bed.

Which is what Jay Leno was supposed to do at 10 p.m. and is now doing again at 11:30. Of course, NBC doesn’t actually want everyone to go to bed before the local news and Jay. Their solution seems to be that just before the show ends, for some inexplicable reason, Marv Albert appears and scares the living daylights out of everyone. Seriously, where did he come from? Yikes. OK, I'm awake.

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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