Thomas H. Green
Bio
Thomas writes regularly for the Daily Telegraph and Mixmag. He has been a consistent presence in the UK dance music media since the mid-Nineties and has also written more broadly about music and the arts elsewhere. He has written one book, Rock Shrines, with another on the way. An ageing raver, he’s still occasionally to be found in nightclubs as dawn approaches.
latest in today
The completion of the Berlin Wall in 1961 severely damaged the East German industrial economy, the fallout soon affecting the GDR’s film…
Social engineering gets a bad press. The whiff of creating a eugenics-inspired master race by other means clings to it, so too agitprop…
I didn’t want to review Shania Twain. My sense of her is of ancient mega-selling hits I can’t stand. I didn’t even go to her Sunday…
The title “Tone Phase 1 for 2 Guitars & 4 Oscillators” is a giveaway, clearly indicating what’s going to be heard once the LP has…
Aaron Copland’s gleaming, monumental Fanfare for the Common Man was written to mark the USA’s entry into World War II. Those thunderous…
Sibelius: Symphonies 1-7 Helsinki Philharmonic Orchestra/Jukka-Pekka Saraste (Ondine)Violin Concerto, Lemminkäinen Suite Ava Bahari (…
What an extraordinary band are The Punch Brothers, a bunch of conspicuously talented musicians whose six albums never fail to delight and…
The man who made Interstellar, Tenet and Oppenheimer can hardly be accused of not thinking big. Now, with The Odyssey, he’s thinking epic.…
Buxton’s summer jamboree for opera lovers this year offers a brace of baroque works, written 90 years apart, with the character of…
Dismemberment is a key motif in the writer-director Simon Stone’s The Oresteia. It reflects the treatment of two of the piece’s several…