1990s
Hanna Weibye
Reviews of English National Ballet in which I rave about what Tamara Rojo is doing for the company are getting to be the norm round here. This one is no exception, and I'm not even going to apologise for it. Last night was the opening of Modern Masters, an ambitious new bill in which the company more than prove they're up to handling the big beasts of late twentieth-century choreography. It took place not at the Coliseum, but at Sadler's Wells, the home of exciting contemporary dance programming in London, and a new partner venue for ENB in what looks like a very savvy deal for Read more ...
Kieron Tyler
Motorpsycho: Demon BoxAfter a burst of guitar feedback, heavy, snail’s-pace drums pound. A massive, churning riff kicks in. The agitated singer tells of bad dreams and blisters on his skin. It’s heavy, lumbering and could define the most challenging end of grunge. Then, suddenly, barrelhouse piano enters the mix along with a Hammond organ. The whole dissolves into a freakout recalling Deep Purple as much the fried psychedelia of jazzy Krautrockers Brainticket. At just over 11 minutes, it’s quite a trip.The song is “Mountain”, a fantastic track from the 1993 Demon Box album by Norway’s Read more ...
Kieron Tyler
Oasis: (What’s the Story) Morning Glory?Adding anything to a story so familiar, so raked over and one played out in public is tricky. Most probably, there are few revelations left about the Oasis of 1995, the year they released their second album (What’s the Story) Morning Glory? In its slipstream they racked up a set of mostly unbroken records: it sold 347,000 in the week of release; 2.6m applications were made for tickets to their Knebworth shows.A large proportion of the latter figure must have bought the album, begging the question of whether it’s worth buying again 19 Read more ...
joe.muggs
Chris Carter and Cosey Fanni Tutti are a living lesson in the rejuvenating power of remaining experimental in art. Their music holds its own alongside the young guns of electronica, who indeed frequently idolise them, and in person they frequently seem as excited about possibilities and open to new ideas as artists just starting out.The set they played at Sónar festival in Barcelona last weekend was based on the Chris & Cosey songs they wrote throughout the 1980s and 1990s, but deliberately done in the more abstracted electronic style they took on as Carter Tutti from 2000 onwards – Read more ...
Kieron Tyler
Dead Moon: In the Graveyard, Unknown Passage, DefianceAfter a few notes of barbed-wire, bent-string guitar, a descending riff kicks in. It’s a relative of the uptempo version of “Hey Joe”. The voice starts. It’s high-pitched, as if Led Zeppelin's Robert Plant had only Love’s Arthur Lee and The 13th Floor Elevator’s Roky Erickson as an influence. The lyrics are hard to make out but touch on mean days and a girl who turns the singer cold. He might as well be dead and in a graveyard. The momentum is tempered by a break borrowed from The Elevators' “You’re Gonna Miss me”. The production is Read more ...
Caroline Crampton
Is there such a thing as a human right to forgiveness? Nicholas Wright's riveting play about the Truth and Reconciliation Commission (TRC) in post-apartheid South Africa circles around this question, never flinching from revealing the atrocities perpetuated by that vile regime, never quite fully exposing the characters' motivations. As spectators, it demands answers of us. What is the price of your forgiveness? Where is the line between humanity and evil?A production by the Fugard Theatre in Cape Town and directed by Jonathan Munby, this play was first seen at the Hampstead Theatre in May Read more ...
Kieron Tyler
Oasis: Definitely Maybe“His onstage presence is supernatural, a good looking boy exuding primal sexual allure while standing stock still, hands behind his back, all effort going into his big chested, raw throated pure and essential singing.” The beyond-hyperbolic liner notes to Deluxe Box Set edition of the 20th-anniversy reissue of Definitely Maybe, the first Oasis album, read like a parody. Liam Gallagher may be many things. But supernatural?Elsewhere, they gush that “the holy grail of British pop music is surely a bunch of longhaired boys with guitars playing swaggering, melodic rock Read more ...
Adam Sweeting
There's a bit of Gene Hunt revisited in Peter Bowker's new three-part drama. Philip Glenister returns to the Manchester stomping grounds he patrolled in Life on Mars, and he even drives an Audi (though it isn't Hunt's celebrated Quattro). But this time he's not a cop.It's 15 June 1996, the Euro 96 football championships are just swinging into action, and the Stone Roses and New Order are on the soundtrack. Glenister plays successful businessman Daniel Cotton, doing his best to patch up a poisonous family rift between his father Samuel (Bernard Hill, pictured below) and wayward, wastrel Read more ...
Hanna Weibye
Sure as carbon dioxide and the greenhouse effect, the 2010s are following a standard 20-year nostalgia cycle by embracing the 1990s as their "retro twin" decade. The quiet rumblings of the last few years – student Nineties parties and the reappearance of the crop top – have this year flowered into a full-on revival that has hairdressers fingering their razors (remember the Rachel cut?), thirty-somethings wearing double denim again, and Rambert coming to Sadler’s Wells with revivals from 1990-1 alongside a Merce Cunningham classic from the Nineties’ own retro twin decade, the 1970s.Four Read more ...
Heather Neill
Yellow Face comes into the Shed a year after it was first greeted enthusiastically at the newly-opened Park Theatre. Its category was generally agreed to be "mockumentary". Fair enough as the author David Henry Hwang appears as a character in his own play, a mixture of autobiography and fiction. Hwang was inspired to tackle the subject - the lack of opportunity for East Asians in American theatre - when Jonathan Pryce was cast as the Engineer, complete with taped up eyes, in Miss Saigon, adopting "yellow face" in the tradition of "black face" minstrels. Hwang led the protests against Pryce's Read more ...
joe.muggs
It's rare that you can trace a genre to one man. But house music is well documented: “house” originally simply meant the music played at the Warehouse club, by one Frankie Knuckles, who died yesterday in Chicago from diabetes-related complications. Knuckles was a disciple of New York disco, who'd served his DJ apprenticeship in the city's spectacularly decadent gay bathhouses in the mid-Seventies as an understudy of Larry Levan (who would set up the Paradise Garage, which itself gave its name to another genre – garage).Seeking a club where he could have complete creative freedom, he moved to Read more ...
Lisa-Marie Ferla
By the end of its first series, My Mad Fat Diary had departed far enough from memoirist Rae Earl’s frank, funny source material that the adaptation taking on a life of its own shouldn’t have been a cause for concern. Still, there’s always that niggle when something that got it so completely right first time around returns: can it possibly repeat that magic, or live up to expectations?Hence why it was such a relief to hear the inner monologue of Earl’s semi-fictional counterpart (Sharon Rooney) during her first sexual experience - well, non-solo one at least. “What if I don’t feel anything?” Read more ...