In 'Coco,' Miguel's dream of becoming a musician comes true. It's a night in the Land of the Dead that gives him the opportunity to prove his talent! USA TODAY
Pixar’s extraordinary success in film is a result of the extra care the company invests in its projects, and there’s certainly a great deal of thought behind The Walt Disney Company subsidiary’s new “Coco.”
The animated film is the coming-of-age-tale of a musically inclined 12-year-old named Miguel Rivera. Set in Mexico on Dia de los Muertos, “Coco” addresses death and betrayal as Miguel journeys into the Land of the Dead during his quest to pursue his love of music, which defies the wishes of his family.
That plot is reflected in the lively “Coco” soundtrack as Miguel, voiced by Anthony Gonzalez, intermingles with the dead – including his sidekick Hector, voiced by Gael Garcia Bernal, and his musical idol Ernesto de la Cruz, voiced by Benjamin Bratt.
The actors (and other cast members) sing in an easy flow of English and Spanish to a variety of styles including mariachi, salsa and son. Highlights include Bernal’s wry ditty “Everyone Knows Juanita,” the electronica instrumental “Jalale” by Mexican Institute of Sound (aka Camilo Lara) and the dramatically grand rendition of the traditional “La Llorona,” performed by Alanna Ubach and Antonio Sol. And the most memorable song is “Remember Me,” delivered repeatedly in a number of contexts by several cast members as well as in a duo form by singers Miguel and Natalia Lafourcade.
The soundtrack also includes 27 tracks of Michael Giacchino’s tasteful score, ranging from somber to showy.
And if fans dig around (e.g. go to Spotify), they can turn up alternate all-Spanish versions of the soundtrack’s vocal songs: Mexican-American actor Bernal performs here also, but different performers stand in for other actors.
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Pixar debuted “Coco” in Mexico weeks ago before its widespread U.S. release during the long Thanksgiving weekend (and it’s already Mexico’s highest-grossing film of all time), and the company is offering Spanish-dubbed and Spanish-subtitled screenings of the movie across the United States.
Thanks to careful execution and respect shown to source material, “Coco” doesn’t feel like cheap cultural appropriation as much as a considerate celebration of a key facet of North American culture.
various acts
"Coco" soundtrack
Rating: 4 (out of 5)
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Bjork's 'Utopia': fantasy for an imperfect world
Bjork’s new “Utopia” is an immersive experience akin to visiting a tropical botanical garden/aviary constructed in the middle of a cold, northern city. The atmosphere is replete with oxygen manufactured by the lush greenery as the dulcet sounds of rare birds fill the air with endearing melodies. You can almost smell the damp soil and feel the warm humidity glazing your exposed skin.
Yet you can’t escape the fact this that the otherworldly “Utopia” isn’t real. There are signs of humanity everywhere – the machinery that controls the climate might be visible just beyond a stand of blooming orchids, and the heavy-paned glass that blocks out the city’s harsh elements (weather, noise, pollution) is just beyond the reach of the tips of the tallest of the sprawling palms.
Bjork has always been a visual artist - from her videos to her costumes and makeup to her music itself, which transcends sound and evokes imagery. And the Icelander ‘s new collaboration with Venezuelan electronic producer Arca is another potent case of sensory overload.
“Utopia” is awash in flutes – both unmodified and heavily processed – creating an untethered airiness that borders on formlessness, complemented by the sounds of real birds. And that machinery is almost omnipresent, creating electronic sounds of its own and splicing and layering organic noise into loops and refrains. Then there’s Bjork’s angelic, girlish voice, largely unchanged over the decades and full of wonder as she taps a generally optimistic vibe.
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The album pulses and shuffles along, the vocals routinely breaking away on soaring tangents, buffeted and abetted by the flute frenzy and especially effective in the giddy “Blissing Me,” the futuristic/earthy title track, the hymnal-ish “Features Creatures” and the textured melancholy of “Loss.”
Obviously “Utopia” won’t be embraced by the mainstream: Its experimentalism is a hostile affront to convention, and even fans will be exhausted by the overlong constructions, fits of sharpness and lingering bouts of inertia.
But that’s Bjork for you, and though “Utopia” is flawed, it’s another example of her peculiar magic.
Bjork
"Utopia"
Rating: 4 (out of 5)
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Jessie Ware builds 'Glasshouse' on cool sophistication
Jessie Ware’s new “Glasshouse” is a throwback to the adult contemporary genre of the 1980s, which feels like a subversive move in the overstimulated times of 2017.
The British singer follows the tradition of the pop vocal album, elevated from regular pop by virtue of its dignified arrangements and her poised delivery. At 33, Ware isn’t much older than most of today’s Top 40 stars, but she sounds a generation removed with “Glasshouse,” relying less on catchy refrains and more on overall ambience.
The release is tonally and lyrically focused, polished and unhurried as Ware makes overtures for more love in her life – deeper connections, more time with loved ones and dreams of a blissful family future on the track “Sam,” named for her husband, Sam Burrows, with whom she had a baby in 2016.
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“Glasshouse” is also subtly unconventional with its offbeat construction – many tracks are dramatic moments in time more fitting for theater than a pop album – and there’s a formal formlessness in the air that invites her listeners to immerse themselves in the overall experience rather than consume “Glasshouse” piecemeal, track by track.
It’s gorgeous, albeit occasionally monotonous. Ware floats through the mix, from the opening ecstatic notes of “Midnight” though the tasteful horns of the late-night-beckoning “Stay Awake, Wait for Me,” the sleek dance track “Your Domino” and the stylish Latin touches of “Selfish.”
Ware’s voice is a technical delight, though her emotions (often trumped-up) lack consistent authenticity. Consequently, when the foundation of “Glasshouse” settles into a protracted leisurely stretch mid-album, the effect is enervating and her audience might struggle to connect to the material. It’s especially hard not to laugh at the premise of the tedious “Slow Me Down,” which dawdles at a painful pace.
Clearly “Glasshouse” wasn’t built for adrenaline junkies. But it certainly accommodates those who prefer to luxuriate in a dreamy atmosphere of aural escapism.
Jessie Ware
"Glasshouse"
Rating: 3-1/2 (out of 5)