Author: Charlie Bertsch
Charlie Bertsch is the co-director of Souciant.com. He teaches literature and humanities at the University of Arizona.

Has there ever been a more impressive debut album than Gang of Four’s Entertainment? (More…)

Combining elements of minimal techno in the great African American tradition of Detroit and Chicago with dubstep, avant-garde jazz, and spoken-word, Speaker Music’s new “emergency” album Black Nationalist Sonic Weaponry delivers bass that is as compelling as it is challenging. (More…)

“War Games”, the opening track of Deadbeat and Paul St. Hilaire’s 4 Quarters of Love and Modern Lash, begins with the spacious minimalism perfected by the Rhythm & Sound records St. Hilaire sang on as Tikiman in the 1990s. (More…)

It doesn’t take long to place Zenobia’s new album Halak Halakwhich translates as a slangy “Welcome, Welcome!” – in the Middle East. (More…)

As I stared up at the mountains I love, glowing a beautiful and terrifying orange, trying to suppress a cough that just kept coming, listening to the new Sleaford Mods collection All That Glue was surreal. (More…)

A whirring mechanical device that hasn’t settled into a rhythm; a keening tone that wobbles slightly over the top; a thump that falls precisely where a beat wouldn’t: Alles in Allem, the new album by Einstürzende Neubauten, opens with a reminder of their origins as musicians who call the very idea of music into question. (More…)

Scacco Matto sounds like a mosaic of Europop hits from the early 1980s. The album is made from pieces so tiny, their arrangement so abstract, that it transcends the referentiality of so much postmodern music. (More…)

Every track on Vladislav Delay’s new album Rakka starts with the letter R. Each feels more relentless than the last, from the opening title track through “Rakkine” (“contraption”), “Rampa” (“cripple”) and “Rasite” (“burden” or “albatross”). (More…)

Guerrilla, the debut LP by Angolan refugee producer Nazar, makes for compelling listening, even if you know nothing about him. (More…)