RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
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Global Routes with Tony Burke: December 2, 2024
Two new releases from Burkina Faso and Niger, one from French-based Afro Latin The Bongo Hop, and rare Mexican bootlegs
GR
IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
High quality pulp, rollicking online murders, Abnorman Britain, and high skates drama: reviews of The Get Off, Everyone In The Group Chat Dies, Pagans and First To Fall
DENNIS BROE notes what happens to content when the streaming giants incorporate AI and deregulation into their economic models
New releases from The Tenementals, Nik Bartsch’s Ronin, and Kuunatic
SCOTT ALSWORTH hears the call to burn down and rebuild the video game industry from the bottom up
The Chinese language only introduced a feminine pronoun in the 1920s. Now, it might adopt a gender-inclusive one, suggests JANET DAVEY
THE second album from Burkina Faso born Aboubakar Traore and his band Balima, Sababu (Zephyrus Records), continues to expand the boundaries of West African music, marrying Traore’s Burkinabe heritage with a blend of pan-African rhythms, soulful jazz and a dash of reggae.
Traore learned the intricacies of the kamele ngoni (the young man’s harp) and here he takes a political stance on the inequities faced in Africa, particularly its exploitation by the global north. Traore stresses the importance for African countries to regain their autonomy and power to prevent young people undertaking dangerous migration routes to the west.
The album contains a celebration of pride in Africa with music that transcends borders while remaining deeply rooted in Burkina Faso.
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