Author: Charlie Bertsch

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

While the pandemic continues to inflict horrific suffering on the world, its early phase is now capable of inspiring nostalgia. We remember the excitement of watching everyday routines grind to a halt and then having to figure out what to do in their absence. (More…)

On her spacious and subtle new album Medieval Femme, Fatima Al Qadiri returns to London’s Hyperdub label to ask forceful questions about the relationship between margin and centre. (More…)

This is What Europe Sounds Like makes for uneasy listening.  Not because of strident guitars, disturbing lyrics, or aggressive atonality, but because it refuses to meet the expectation of music at all. (More…)

Though short – the entire digital recording clocks in at seventeen minutes – and somewhat haphazardly put together, John Waters’ Prayer to Pasolini makes a meaningful contribution to cinematic history. (More…)

HBO’s new cinematic adaptation of J.T. Rogers’ Tony award-winning play Oslo is consistently entertaining.  (More…)

The recent Italian films The Life Ahead (La vita davanti a sé) and Mom to Hundreds (Tutto il giorno davanti) thematise the plight of underage migrants from the developing world, seeking to extract maximum sentiment from audiences. (More…)

Unlike so many of the records that fall under the rubric of rap these days, Massimo Pericolo’s Solo Tutto remembers what the term originally meant. (More…)

AAI, the new album by storied German electronic group Mouse on Mars, is the rare concept album in which form and content are equals. (More…)

“Why should I worry about deviating from the masses when I am also me and myself? Am I not a mass? Am I not already a collective? Do I not contain multitudes?”  (More…)

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