I'm pretty fascinated with creolized musics in general. it's one of the only things that really keeps me searching for tunes.
a natural process that occurs any time two or more cultures rub up each against each other, physically or more recently, digitally
obv Hassell is trying reframe that in the context of Western colonialism, and specifically post-colonialism
"4th world" while still kinda suspect is at least vastly better conceptually than "world music"
which is the opposite of creolization - the neutering of everything into one bland background Starbucks music, Putumayo compilations, fucking horrible
even in that specific context Hassell was just the tip of the iceberg, a very academic take on something that was happening everywhere in every way
the 80s was absolutely rife with this stuff, both conceptually and pragmatically, at all levels of good or bad taste and faith
on the postpunk proper side, 23 Skidoo is an obvious touchstone - "Coup" is their best, but these two are more "4th World"
Savage Republic is another, less sonically "4th World" but in a similar cleft between guitar-based postpunk and percussive industrial
the "Burundi beat" of Bow Wow Wow etc is very 4th World pop, complete with lingering on the edge of a discussion about "appropriation"
this is kind of a deep cut version of Bow Wow Wow (which I prefer, tho the original is also good ofc) produced by Daniel Lanois of Eno fame
the cosmic - Danielle Baldelli etc - end of the post-disco 80s is almost de facto 4th World with its heavy focus on African percussion to the point you'll sometimes see "afro" and "cosmic" used interchangeably
this features (I believe) actual Burundi drummers, as well as French Caribbean musicians, and a white French producer