Rudi Y Cursi Soundtrack Out In All Digital Outlets

Gael Garcia Bernal and Diego Luna, co-stars in 2001's Oscar-nominated Y tu mamá también, reunite on-screen for Carlos Cuarón's directorial debut, Rudo Y Cursi. Co-produced by Cuarón's older brother Alfonso ("Children of Men"), Guillermo del Toro ("Pan's Labyrinth") and Alejandro González Iñárritu ("Babel") under the trio's new production company, Cha Cha Cha, the movie premiered in L.A. and New York City on May 8th. Already it's one of the highest grossing films in Mexican movie history. Released by Nacional Records, the soundtrack was co-produced by Camilo Lara (Mexican Institute of Sound) and the younger Cuarón. It flaunts itself like sonic bait boasting a who's who list of cutting-edge indie artists from Latin America and the U.S. The 17 deliciously crafted tracks display a refreshing variety of sounds that effectively reel the listener in to enhance the movie-watching experience. Covers of regional Mexican classics and original songs by indie luminaries like Devendra Banhart, Argentinean electro-folkie Juana Molina, Monterray rapper Niña Dioz - Mexico's answer to Lady Sovereign - and Black Lips all conspire to make this soundtrack one of the best I've heard since Trainspotting and Pulp Fiction. There's a rich palette of songs from Mexican hip-hop and Latin alt rock to electronic music, cumbia and indie pop. Banhart's rendition of "Lindo Cihuatlán" is especially haunting, while Niña Dioz's "Prefiero El Asfalto (Por Puro Gusto)" makes it clear why she's causing so much buzz these days as Mexican hip-hop's feisty soon-to-be ambassador. Jóvenes y Sexys' "Amor Platónico" is one track worthy of the repeat function on your iPod. Its diaphanous arrangements and heartfelt, wide-eyed lyrics are in stark contrast with the movies themes of ruthlessness and corruption in the world of pay-to-play sports. Three different versions of Cheap Trick's "I Want You To Want Me," including one sung in Spanish by an out-of-tune, seemingly inebriated Garcia Bernal, reflect some of the flick's moments of comic relief. The soundtrack ends with Bostich and Fussible's "Árboles De La Barranca" a Mexican classic naturally turned on its head.