Noise, in a word, says it all. The Noise movement began in the 1930’s as musique concrete, an attempt to blur the lines between music and ambient sounds, and to incorporate those noises we encounter on a daily basis into music. Today noise often shares a sound and rhythm with techno, while incorporating a variety of not-traditionally-musical sounds. Of course, it’s just as often arhythmic, often amelodic, and consequently, often very unpleasant to listen to—often on purpose.

But it is, at the same time, very creative and on the cutting edge of music, forcing us to reevalute both the musical structures that dominate pop music, and the everyday background noise surrounding us. And sometimes it doesn’t suck. The short set format was perfect for the genre. A full set of Noise might have been horrible. Ten full sets would have been a nightmare. But in short doses, Noise can be effective without being terribly unpleasant.

—Matthew S. Rozen

Africa comes to Harvard

Thomas Mapfumo and Habib Koite

Sanders Theatre, September 29th

Postponed after the events of last Tuesday, Malian singer-guitarist Habib Koite, and Zimbabwean superstar Thomas Mapfumo will finally grace the stage of Sanders Theatre. The two are well matched—Koite’s acoustic, blues-flecked West African themes represent a younger generation of musicians, yet one still faithful to their musical heritage. Thomas Mapfumo created his own tradition in Zimbabwe, where he is credited with originating “Chimurenga” music, the music of the Zimbabwean Liberation struggle. Recently forced to leave Zimbabwe after releasing Chimurenga Explosion last year, an album that specifically criticised the government’s mismanagement of the country, Mapfumo has been touring the United States for several months, playing with a considerably downsized band from the nearly 20 piece ensemble he headed in Zimbabwe. During a career spanning over 20 years, Mapfumo has reached the summit of acclaim in Zimbabwe and has earned a sizeable fan base in the U.S. as well, allowing his albums to be released internationally.

Koite’s music echoes that of his compatriot, Ali Farka Toure, whose joint album with Ry Cooder won a Grammy award in 1994. The rolling, Eastern-flavoured music combines acoustic guitar with traditional arrangements and instruments, such as the Kamale N’gone, or youth’s harp, to great effect —the music is simple and evocative, showcasing Koite’s expressive voice. While not as rock-influenced as Salif Keita on recent albums, Koite promises to be an exciting, upbeat show. —Andrew R. Iliff