Politics and rock en Español go hand in hand, and Mexico City's Molotov is a flag-waver for that combination. The band formed in 1995 during an era in which seismic political changes transformed Mexican society; from the start, Molotov's music pointed fingers at economic and political institutions — and even aging rock stars.
The orchestral swirls, the transition to a soul-man groove, the falsetto croon — there you have some of the key elements to Justin Timberlake's album The 20/20 Experience. The title implies a certain clarity of vision, even as any given song presents the singer as a starry-eyed romantic, bedazzled by a woman upon whom he cannot heap enough compliments, come-ons and seductive playfulness.
Anaïs Mitchell has a knack for mythology that flies over the heads of most modern songwriters. From her adaptation of the Orpheus myth on Hadestown — an arresting "folk opera" wherein Orpheus and Eurydice struggle through a post-apocalyptic economic depression — to the nuanced interweaving of Biblical and Greek mythology in last year's Young Man in America, she's proven adept at mingling the ancient and the contemporary.