Given the power of the live experience, MIK SABIERS recommends Jon Spencer’s new album
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Thunderously intense and utterly transfixing
Reviews of T.P. Orchestre Poly-Rythmo, Tamikrest, and Dub Colossus
The bard celebrates two other fine practitioners of the art, and laments a lost brewer
This right-wing conspiracy theory is used to justify the coercive measures against gender, race and labour rights that best serve capitalism, attests GAVIN O’TOOLE
KENNY MONROSE recommends a new exhibition that highlights the significance of Black British music
ANGUS REID is bowled over by an exuberant film about the making of Keith Jarrett’s legendary concert
WOMAD 2019
Charlton Park
IF WE are going to be gratuitously hermetic about it — and surely that is a writer’s job, after all! — we could say, emotionally speaking, there are essentially two types of music.
The music I have always been drawn towards is searching, questioning, slightly unsettling, disturbing even — but always reaching for transcendence.
This is the heart of modern music, perhaps best encapsulated by John Coltrane’s later period, or by all manner of electronic urban dance forms.
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