Film

Viewer Discretion Advised: 30 June, 2007

It’s cinematic cornucopia time for the premium pay cable channels this week, especially since June transmogrifies into July midway through the seven days – and then there’s the whole flag waving, celebrate your country call of the fabled Fourth to take into consideration. With all those potential pitfalls in the way, it’s a wonder that the powers who program these channels have any nails left to nibble. Indeed, how do you keep them glued to the set when there are tons of illegal fireworks to purchase and play with? Harder still is the competition from the local Cineplex. Die Hard is back. Pixar is back. And Michael Bay and his robots in disguise are waiting in the wings. It’s clear that for many in the great unwashed demographic, television will be the last things on their BBQ and blockbuster minds. So cut the premium networks some slack. What they’ve got scheduled – including the SE&L selection for 30 June – is enough to make a dedicated couch potato smile:

Premiere Pick

A Prairie Home Companion

It’s a shame that Robert Altman had to leave this agreeable little gem behind as his last feature film. While many critics complimented its typical intertwined storylines, a few couldn’t get past the foundational material – i.e. Garrison Keillor’s twee Podunk radio show. In fact, it’s funny how many of the movie’s best bits seem to simultaneously embrace and deconstruct this perplexed personality’s Lake Wobegon stories, settings, and characters. Granted, it will be hard to see the sequences where the talent-free Lindsay Lohan battles mightily to keep in step with onscreen Mom Meryl Streep, but in the long run, this bright and brassy swansong for the fictional show will always be remembered as Altman’s last stand. And when measured against time honored masterworks like MASH, Nashville, 3 Women and Short Cuts, it has some hard company to keep in step with. Still, there is an impish kind of creativity here that shows the legendary director was still as sharp as ever. His remains a voice that will be sorely missed. (30 June, HBO, 8PM EST)

Additional Choices

Idlewild

It’s a sure sign of too much success. The duo known as Outkast (Andre 3000 and Big Boi), responsible for some of the most inventive and invigorating music in the last 10 years, parlay their popularity into a chance to create a full fledged movie musical. Oddly enough, the results are much better than one would have imagined. While the storyline is formulaic and the acting average, the songs really sell this amiable period piece. (30 June, Cinemax, 10PM EST)

The Guardian

Kevin Costner as a rough and tumble Coast Guard rescue swimmer instructor. Ashton “Demi” Kutcher is the high school athlete who thinks he’s hot spit. Together, they clash over conduct and duty while big fat CGI waves threaten innocent boaters on the high seas. If by that vague synopsis you can already see where this story is going, don’t be surprised. So did everyone else who actually paid to see this supposed action slop. (30 June, Starz, 9PM EST)

Basic Instinct 2: Risk Addiction

Who, besides Ms. Stone herself, still thinks she’s capable of rip-roaring erotic sexuality? Show of hands? The fading 49 year old must have been absolutely desperate to take up the Catherine Tramell mantel again, especially with all the stink she caused over certain sequences in the 1992 original. Of course, back then, she could pull off the seductress. Now she looks like a member of the Whatever Happened to Baby Jane? touring company. (30 June, ShowTOO, 9PM EST)

Indie Pick

The Aristocrats

Humor, like music, is a highly personal and subjective passion. Either something makes you laugh, or it doesn’t. So if you find incredibly vulgar and racy jokes to be the decline of Western civilization, perhaps you should skip this otherwise fascinating documentary by comedian Paul Provenza (with some help from outsider magician Penn Jilette). Taking a traditional dirty gag – a famed piece that’s been around since the earliest days of stand-up – and allowing dozens of current and former quipsters a chance to explain and riff on it, the obvious tact taken here is to discuss the concept of taboos and onstage envelope pushing. But Provenza also manages to sneak in some commentary on how society views such subjects, as well as how free speech and speaking freely may actually be two different things. If you can handle the bewildering ‘blueness’ of the material, you’ll thoroughly enjoy this devious discussion. (05 July, IFC, 8:25PM EST)

Additional Choices

The Cooler

One day, Alec Baldwin will get his Oscar. He deserves it, and he’s given plenty of performances worthy of such peer recognition. On the other hand, it’s hard to say if this movie contains his best work. Granted, back in 2004, the buzz was building on the actor’s turn as an old school casino boss. But come trophy time, he was barely acknowledged. That doesn’t take away from the film’s effectiveness, however. It’s very well done. (30 June, IFC, 9PM EST)

Control Room

Al Jazeera is the controversial Arab news channel that has both the Bush Administration and their right wing wiseguys up in arms. They claim the station merely functions as a mouthpiece of the region’s radicalized beliefs. The agenda-guided journalists there might not disagree. Filmmaker Jehane Noujaim finds himself smack dab in the middle of the melee as he exposes the truths, and the tricks, used by either side of the story on the War in Iraq to win support, both at home and abroad. (02 July, Sundance Channel, 7:30PM EST)

La Haine

The title is translated literally as ‘hate’, and there is plenty of said emotion in this amazing film from French director Mathieu Kassovitz. Addressing the despair and dissolution rampant in the ghettos surrounding Paris, we are introduced to three wayward youths who epitomize the current struggles (one’s black, one’s Arab, one’s a Jew). Aside from the obvious influence of American hip-hop and rap, the lack of power fuels a destructive, fatalistic rage inside them. Then one of them finds a gun. (03 July, Sundance Channel, 7:30PM EST)

Outsider Option

Grace of My Heart

Why has no one made a definitive film about the Brill Building? What? That name doesn’t ring a bell? Well, how about the songwriters who earned their music mythos while working in the historic hit factory – Lou Reed, Neil Diamond, Carol King, Ellie Greenwich, Jeff Barry, Tommy Boyce and Bobby Hart? Perhaps it’s a question of publishing rights, but it seems that this subject has been ripe for a motion picture epic for far too long. The closest we’ve gotten is this Allison Anders effort that, while incredibly evocative of the time and place, must substitute newly minted melodies – and a girl power narrative center – to get its occasionally arch points across. To make matters even more meandering, the narrative includes fictionalized sketches of Phil Spector and Brian Wilson that just don’t seem to fit into the overall theme being explored. It’s a noble failure, however, one that argues for another go round with what is some highly substantive subject matter. (01 July, Indieplex, 5:05PM EST)

Additional Choices

West of Zanzibar/ The Unholy Three

Lon Chaney was not only the Man of a Thousand Faces, he was also one of the first major genre superstars. This inspired combination of Tod Browing classics, shows off the man’s amazing talent for mimicry more than his well known penchant for remarkable make-up. It’s too bad that he died so young, and that most of his creative canon is lost. Even here, toward the tale end of his career, Chaney remains a stark, stunning performance powerhouse. (29 June, TCM Underground, 2AM EST)

Squirm

Radioactive killer earthworms - you just can’t get more schlock than that. But writer/director Jeff Liebermann desperately tried to up the exploitation ante by setting the story in the steamy, slow-witted South, and piling on the hillbilly hokum. It more or less worked, as this passion pit staple proves. Liebermann leaves no hoary old cliché unturned, and even reinvents a few just for fun. The result is a dime store definition of the ‘so bad it’s good’ ideal. (30 June, Drive-In Classics Canada, 9PM EST)

Left In Darkness

Every once in a while, an inventive independent horror movie will come along, using intelligence and ideas to substitute for a lack of special effects and eerie eye candy. While less than stellar, it usually soothes the horror fan’s savaged breast. Well, this isn’t that kind of fright flick. Instead, it’s a moderately entertaining work of misapplied macabre that’s just barely coherent enough to be engaging. (06 July, Sci Fi Channel, 3AM EST)

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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