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

It’s hard to imagine a more incongruous setting to hear the music of Sault than the one I found myself in this week. As I drove the unfamiliar streets in and around Salt Lake City, international capital of the Mormon religion and one of the most stereotypically white places on the planet, they provided the soundtrack. (More…)

Nayda!, the debut album from Bab L’Bluz, demonstrates the virtue of running towards trouble instead of away from it. (More…)

From the precise low throbbing that introduces AurAA to the menacingly crackly bass tones that ends it, Ellen Allien’s new album strikes a balance between four-on-the-floor minimalism with atmospherics that can’t be reduced to their danceability. (More…)

“Red Square”, the first track on Simon Scott’s new album Migrations, unfolds at a leisurely pace. Those who favour the stripped-down aesthetic of Berlin dub may hear elaborations on the hissing minimalism of Pole or the meta-reggae of Rhythm & Sound. (More…)

Because of its collaborative nature and broad range, East Man’s fine new album Prole Art Threat has the feel of an anthology. (More…)

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…)