[ rock/world ]

In the “revolution you can dance to” department, it doesn’t get much livelier than Firewater’s topical, tropical International Orange (Bloodshot). Recorded in Istanbul and Tel Aviv amid the Arab Spring uprisings and pulsing with a boundary-defying mix of ska, maqsoum, mambo, rebetiko and good old punk rock, this album is built to ignite all forms of incendiary social movement. Tod A and his troupe have been infusing their party-hearty indie-punk with worldly cabaret since well before the Balkan-rock boom, but this might just be their finest and fieriest manifesto yet. —K. Ross Hoffman

[ jazz ]

Italian guitarist Marco Cappelli left the classical world years ago to take up with the NYC improvised-music scene. The irreverence of Downtown counterparts like Marc Ribot seems to have rubbed off on Cappelli’s Italian Surf Academy, whose debut, The American Dream (Mode), blends Dick Dale and Ennio Morricone with free-jazz abstraction. The disc features expansively edgy takes on several mondo-Italian soundtrack classics (and one U.S. ringer, a cover of “Secret Agent Man”). —Shaun Brady

[ jazz ]

The great saxophonist Sam Rivers, who passed away last December, would have turned 89 this week. Reunion: Live in New York (Pi) is a resurrection in more ways than one: It not only commemorates Rivers’ birthdate but also marks the 2007 reunion of his trio with bassist Dave Holland and drummer Barry Altschul. Despite not having played together in 25 years, the three picked up exactly where they left off, generating two discs’ worth of compelling, vital improvisation. —Shaun Brady

[ dvd ]

Nestled between Universal’s glorious Jaws Blu-ray and the forthcoming E.T.: The Extra-Terrestrial, Paramount’s five-Blu set Indiana Jones: The Complete Adventures is a single-serving overview of Spielberg’s peak and decline. More so than the epoch-defining Jaws, Raiders has aged unevenly; its high-gloss take on B-movie values has become the norm, its giddy novelty trumped by its descendants’ burnished sleekness. The later films up the deliberate absurdity — nuke the fridge, anyone? — but the easy charm trickles away, a fascinating (if not entirely heartening) microcosm of the way filmmaking has evolved in the last three decades. —Sam Adams