This week in the Voice, out today, Eric Sundermann headed to Hoboken, where he chats with San Diego-based Crocodiles, which is performing at 4Knots: “In 2009, they released their debut, the bedroom-recorded, grungy Summer of Hate. And even though Endless Flowers is only the band’s third full-length, their maturity is evident. They’ve grown in membership: Endless Flowers is the first album to be recorded with their five-piece touring band. The group’s sound has similarly evolved from hollowed-out, scratchy guitars and sometimes-inaudible vocals to full-fledged — and at times anthemic — power rock ‘n’ roll.”
In food, Robert Sietsema yearns for the hard-to-find provincial picks at Yunnan Kitchen, “The place evokes the cuisine of Yunnan, a People’s Republic province situated in the southwest, bordering Burma, Laos, and Vietnam. Most of the population is not ethnic Chinese, but a combination of hill tribes that originated in Southeast Asia, who are often treated as second-class citizens by the Chinese government.”
Simon Abrams spends time talking to Yorgos Lanthimos, an Athenian filmmaker who specializes in existential dark comedies, before the release of his new film, Alps. Lanthimos’ characters, Abrams notes: “all hope to affect change in their lives but don’t actually expect to. Not surprisingly, Lanthimos, now working and living in London, has adopted a wait-and-see policy regarding the recent parliamentary elections in Greece. ‘I really have no clue,’ Lanthimos says while laughing a touch nervously in a phone conversation…’Something new needs to happen. Whatever the outcome, it will still be a difficult period for the country. The solutions are still to come, if there are any.'”
Jacob Gallagher-Ross travels The Material World in theater, writing: “Karl Marx was famously of the opinion that world history happened once as tragedy and again as farce. But for Gittel Fenster, the aspiring revolutionary heroine of Dan Fishback’s charming, wise new musical The Material World — now playing at Dixon Place, in a production skillfully directed by Stephen Brackett — history returns again and again in song-and-dance numbers: medleys with the future; duets with the past.”
And in art, Christian Viveros-Faune goes to the Guggenheim to see Dutch photographer Rineke Dijkstra’s new show, noting: “A hip-shattering bicycle accident left her bedridden for five months and at loose ends for some time after. Free to contemplate her immediate past as a commercial portraitist and her underdeveloped future as an artist, the young shutterbug chose to photograph herself surfacing from a 30-lap swim that served as part of her grueling rehabilitation. What she found framed there was familiar yet mostly unexpected — drenched, defiant, and far too exhausted to consciously pose for the camera, she emerged as a nakedly guileless self inside a nearly transparent skin.”
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