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With his latest film, The Skin I Live In, Spanish director Pedro Almodovar pulls off a nearly impossible feat by creating a work of art that simultaneously outrages, offends and, somehow, gratifies the viewer. A masterpiece of restraint, this film demonstrates a new direction for its director.
Chili Peppers' 10th album, I'm With You. Offering refreshed perspectives while maintaining the Peppers' signature funk-rock-pop stylings, I'm With You does not disappoint. Bursting with five years worth of pent up energy, the Red Hot Chili Peppers have exploded back on to the musical scene with a vengeance. Regrouped, retooled and renewed, the Peppers are nevertheless essentially unchanged: their core remains as offbeat and on-point as ever.
On their second LP entitled EUPHORIC /// HEARTBREAK \\\, Glasvegas prove that they are much more than the "working class Glasewegian heroes" they were so often patronizingly referred to upon their arrival on the music scene two years ago. Presenting their fans with a major departure from the grungy doo-wop rock of their 2008 self-titled debut, their sophomore effort sees Glasvegas boldy venturing into novel sonic territory. With the addition of a new drummer, Swede Jonna Löfgren, who replaced original drummer Caroline McKay after her departure from the band in early 2010, Glasvegas have gained not only fresh artistic talent, but a significantly greater ambition in terms of their musical daring.
With their third studio album, Mine Is Yours, Cold War Kids offer up a decidedly different sound from their previous efforts. Greatly contrasting with the material characteristic of their first two albums, Mine Is Yours is a more refined, mainstream version of their former records. Indeed, "Louder Than Ever," an unabashedly radio-friendly pop-rock track, serves as a shocking indicator of just how dramatically these Long Beach, Calif. natives have departed from the raw, unhinged songs of their debut album, Robbers and Cowards, such as "Hang Me Up To Dry."
Held in Austin, Texas at Zilker Park from Oct. 8-10, this year's Austin City Limits Music Festival was a success not just from the astounding quantity and quality of music on display over the span of three days, but by two things altogether unrelated to music: clear blue skies and a cool breeze. In fact, the near-perfect weather, which lasted the entire weekend, contributed to one of the best overall ACL experiences in recent years - a stark contrast from the ankle-deep mud that characterized ACL last year.Not for the faint of heart, ACL can be arduous for the ill-prepared. With enormous crowds increasing in number every year, simply moving from stage to stage can be an ordeal. And, although this year was not as hot as it has been in the past, staying hydrated always poses a challenge. Fortunately, this year ACL offered more efficient (and free) water bottle filling stations, part of festival organizers' efforts to "go green." As evidence of this initiative, there were even booths located in various locations across Zilker Park where festival-goers could sign up to collect recyclables and receive a free T-shirt in return.
Formed in 2000, New York City- based indie-rockers The Walkmen have created an eclectic piece of work with their sixth studio album, entitled Lisbon. As a whole, the album shines; its varied influences and thoughtful lyrics result in a delightfully enter- taining experience.An album of astonishing range, Lisbon in many ways seems undeni- ably modern and yet in even more ways seems to evoke the charming melodies and musical techniques of yesteryear. For instance, on "Torch Song," The Walkmen produce a doo-wop throwback - think Frankie Valli and the Four Seasons, minus Frankie's superhuman falsetto, with a little bit of Vampire Weekend's New York swagger thrown in for good measure.
