Background: Rancid is an American punk rock band formed in Berkeley, California in 1991. Founded by 1980s punk veterans Tim Armstrong, and Matt Freeman, who previously played in the highly influential ska punk band Operation Ivy, Rancid is often credited (along with Green Day and The Offspring) for reviving mainstream interest in punk rock in the United States and bringing punk rock into the mainstream during the mid-1990s. Over their 27-year career, Rancid remained signed to an independent record label and retained much of its original fan-base, most of which was connected to its underground roots. Rancid has had two lineup changes since its inception.
Context: After two years of touring for ...And Out Come the Wolves, Rancid returned to the studio in 1997 to begin recording its fourth studio album, Life Won't Wait, which was released on June 30, 1998. The album branched out from Rancid's previous musical styles, and combined punk rock with elements of roots reggae, rockabilly, dub, hip-hop, and funk, drawing comparisons to the Clash's Sandinista!. Though the album did not achieve the success of ...And Out Come the Wolves, but has since garnered a strong cult following in recent times. In 1999, Rancid decided to end its seven-year relationship with Epitaph and signed with Armstrong's founded Hellcat Records (which is a sub-label of Epitaph). A second self-titled album was released on August 1, 2000 and would be its first album released through Hellcat. The album failed to achieve the success of Rancid's previous three albums and reached number 68 on the Billboard charts. On the album, the group largely abandoned its ska-punk influences, recording a more hardcore-influenced album. The three original members of Rancid released three songs under the name Devil's Brigade in 2002, one on the Give 'Em the Boot III compilation album, and two on a 12-inch vinyl record. In March of the same year, a split album with NOFX titled BYO Split Series Volume III was released, in which Rancid covered NOFX songs and NOFX covered Rancid songs. After a break from touring in 2001, Rancid returned to the studio with Gurewitz in 2002 to record its sixth studio album, Indestructible, which was released on August 19, 2003 and was their highest-charting album to date, reaching number 15. Unlike the band's previous albums, Indestructible was distributed by not only Epitaph/Hellcat but major record label, Warner Bros. Records, a move that received some backlash from the band's fans who questioned their loyalty to the independent scene. When released, the album didn't feature the Warner logo anywhere on the packaging, a move to ease tension among fans. The album was warmly received by most critics however met with mixed reviews from fans, some of which felt the album contained a "poppier" sound (some accusing Warner of having an influence on the music) while others felt it was a mixture of ..And Out Come the Wolves and Life Won't Wait. The album's music video for the first single, "Fall Back Down" was also met with some criticism from fans due to members of Good Charlotte and Kelly Osbourne making appearances.
Question: What other albums did they release
Answer: And Out Come the Wolves,

Problem: Background: Alejo Carpentier y Valmont (December 26, 1904 - April 24, 1980) was a Cuban novelist, essayist, and musicologist who greatly influenced Latin American literature during its famous "boom" period. Born in Lausanne, Switzerland, Carpentier grew up in Havana, Cuba, and despite his European birthplace, he strongly self-identified as Cuban throughout his life. He traveled extensively, particularly in France, and to South America and Mexico, where he met prominent members of the Latin American cultural and artistic community. Carpentier took a keen interest in Latin American politics and often aligned himself with revolutionary movements, such as Fidel Castro's Communist Revolution in Cuba in the mid-20th century.
Context: The Baroque style dates back to the cultural period of the 17th and early 18th centuries. It is most often defined as "the dominant style of art in Europe between the Mannerist and Rococo eras, a style characterized by dynamic movement, overt emotion and self-confident rhetoric". Carpentier first became fascinated with this style in architecture and sculpture; however, he later describes el barroco as un espiritu, and not un estilo historico ("a spirit, not an historical style"). Wakefield insists that this attitude towards the Baroque stemmed from Carpentier's background in both Europe and Latin America which allowed him to take on a superior front in the face of post-colonialism and ultimately have the literary upper-hand where he could use European style to tell the Latin American story. Carpentier developed his vision of the baroque in his early works before he described himself as a baroque writer. He experimented with the technique in several developmental stages: "first as a cultural style of aesthetic fascination, later as a literary device to create period ambiance, and finally as a weapon of postcolonial pride, defiance and one-upmanship". This style strongly presents itself when comparing works such as the early Ecue-Yamba-O to the celebrated El reino de este mundo, regarding Carpentier's use of more historically eloquent vocabulary in the latter, instead of the authentic language of the ethnically-inspired characters. Here he escapes the stereotype of "nativism" by incorporating European standards, but continues to achieve a sense of normalcy without the expected use of the colloquialisms which the protagonist Ti Noel would undoubtedly use. Kaup claims that Carpentier utilizes what is known as the "New World Baroque", since Latin America didn't come into contact with the Enlightenment or "European modernity". This contraconquista (counter conquest) allows the New World authors to experiment with new identities and the manners of expressing them. As such, Carpentier observed in his 1975 essay that "American Baroque develop[ed] along with criollo culture ...: the awareness of being Other, of being new, of being symbiotic, of being a criollo; and the criollo spirit is itself a Baroque spirit." This criollo of the New World Baroque is often seen as the dominant style of European literature emerging as a subordinate literary construction in Latin America.
Question: Are there any other interesting aspects about this article?
Answer:
Kaup claims that Carpentier utilizes what is known as the "New World Baroque", since Latin America didn't come into contact with the Enlightenment or "European modernity".