When Franco-Algerian hellraiser Rachid Taha passed in 2018, days short of his 60th birthday, the world lost a polyglot cultural provocateur par excellence, personifying the punk-rock planet implied once upon a time by The Clash. Black sheep of the Arabic-pop family and a thorn in the side of the “douce France” of Front National types, Taha made marvelous use of the resources his bi-continental identity afforded him, generating raw heat from their underlying frictions. This posthumous album sadly suggest that Taha was nowhere near out of good ideas, but one can find solace in its almost comprehensive summary of his fortes.
Latest 360 Content
Concert review Caribbean
Mois du Créole 2026 | Richy Jay: Keeping Konpa and Zouk Alive in Montreal
By Juliana Cortes
Interview arts numériques/Classical/classique/Électronique
Akousma | Melanie Zhou: Shaping Sound, Expressing Emotion
By Alexandre Villemaire
Concert review Classical/classique
Caprice at the 9th Floor: a pleasant meeting between Baroque and Carnatic music
By Frédéric Cardin
Concert review Classical/classique
Arion: Cinderella has fun and unleashes her magic
By Frédéric Cardin
Interview Caribbean/Piano
Mois du Créole 2026 | David Bontemps: Between the Piano and Dessalines’ Legacy
By Sandra Gasana
Concert review Classical/classique
Azrieli Prize 2026: The Four Pillars of the Temple
By Frédéric Cardin
Interview Classical/classique
Ensemble Caprice at the 9th: Dialogue with Carnatic India
By Frédéric Cardin
Interview Classical/classique
A resurrected and vocally spectacular Cinderella at Bourgie Hall
By Frédéric Cardin
Interview Caribbean
Mois du Créole 2026 | Pierre-Roland Bain: A Look Back and a Look Ahead
By Sandra Gasana
Interview Classical/classique
Azrieli Prize 2026 | Adrian Mocanu : ink that fades and the memory of women troubadours
By Frédéric Cardin
Interview Classical/classique