Having a go at Howard Devoto’s post-Buzzcocks band wasn’t new. In NME, Tony Parsons considered their February 1979 single “Rhythm of Cruelty” thus: “Howard the Schmuck writes pretty little melodies, ...
The title “Tone Phase 1 for 2 Guitars & 4 Oscillators” is a giveaway, clearly indicating what’s going to be heard once the LP ...
Social engineering gets a bad press. The whiff of creating a eugenics-inspired master race by other means clings to it, so ...
Aaron Copland’s gleaming, monumental Fanfare for the Common Man was written to mark the USA’s entry into World War II. Those ...
Dismemberment is a key motif in the writer-director Simon Stone’s The Oresteia. It reflects the treatment of two of the piece ...
A febrile energy powers Timothy Sheader’s production of Jesus Christ Superstar, which arrives in the West End with an edgy ...
The man who made Interstellar, Tenet and Oppenheimer can hardly be accused of not thinking big. Now, with The Odyssey, he’s ...
It is never a great sign when a local authority is forced to comment on a music festival. The opening night of the In The ...
A voice at the start of dancer Aakash Odedra’s performance speaks out of the darkness about the Sufi myth behind what we are ...
Ana Mendieta’s work gives me the creeps. This is a deeply unfashionable view, so much so that I may well be cancelled for it.
Pyschedelic music has always encouraged intergenerational influence. Thus West Midlander Pete “Sonic Boom” Kember, in his ...
Everything I Ever Saw continues The Menzingers’ tradition of heartfelt storytelling through their signature Americana punk ...
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