Revolution Trains News

321Revolution Trains, the crowdfunding-based model railway brand run by Ben Ando and Mike Hale. have concluded the expressions of interest phase of their two most recent projects. The good news is that the class 321 EMU will almost certainly be going ahead.

Class 320/321/456 project: the levels of interest in this project are very promising and we are 99% certain that the project can begin design.  The only area that we are still finalising is the cost for the units – until we have a confirmed price we will not open orders. As soon as we have a price we will open orders for the 320/321 with a deposit option and with incentives for people who back us early.

The level of interest shown rather contradicts the conventional wisdom thar nobody is interested in electric mutiple units. Sadly there was not the same level of enthusiasm for their other proposal

Unfortunately the results of the 21/29 project were not so promising with neither the class 21 or class 29 getting sufficient support to justify production as things stand. To be frank both locos were significantly below production minimums. Even in the situation where we only produced one of the classes (and customers had agreed to swap their interest to that class (it would have been a class 29 as it was approximately 50% more popular than a 21) we would still have been significantly below the minimum production run.

That’s something of a surprise, since the prototype’s stamping ground, the Scottish Highlands, with its spectacular scenery and relatively short trains is a popular subject for modellers, and there are plenty of complementary models are already available.

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Now that Terry Wogan is up there, Heaven can hold a Eurovision Song Contest with Lemmy as the British entry. Something that should have happened when the two of them were still on Earth.

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“If only they  realised that their favourite genre didn’t just stop when fashion moved on” – Comment from Paul E in this thread.

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Myrkur – M

Myrkur MAt the end of the 1970s, three village idiots from the north-east of England began meddling with forces they didn’t understand, and unleashed an entity into the world which they could not control.

Black Metal, it came to be called. It took root in Scandinavia,where it developed a reputation for arsonous things which might have made some Methodist Church property stewards wish it had caught on in parts of the south-west of England.

Over more than thirty years, Black Metal has evolved out of all recognition, giving us the gloriously ridiculous Dimmu Borgir and the fiendishly innovative Ihsahn. Myrkur’s “M” doesn’t sound much like either of those bands, but like them it still sounds like something well beyond the limited imaginations of that notorious original trio.

Myrkur is a solo project from Danish singer and multi-insrumentalist Amalie Bruun. Opening number “Skøgen Skulle Dø” begins with a ghostly vocal leading into dark medieval soundscapes that come over like Blackmore’s Night’s evil twin, blood-curdling screaming, and ending with the sound of a church choir backed by walls of distorted guitar. That combination of beauty and menace sets the tone for the album.

It’s difficult to believe all the lead vocals are the work of the same singer; Myrkur can do deeply scary black metal screaming, but there’s as much layered ethereal folk-inflected vocals, and the contrast is remarkably effective. Sometimes the guitars give way to classical piano accompaniments, their fragile beauty contrasting and complimenting the heavier numbers. Like a lot of contemporary metal there are no solos, but with lyrics sung entirely in Danish Myrkur’s remarkable voice frequently comes over as a lead instrument. She’s an accomplished pianist as well, ending the album with the melancholy instrumental piano piece “Norn”.

With elements of folk and classical music as well as metal, this is a remarkable piece of work, quite unlike much of what gets released under the banner of Black Metal. If it’s ultimately descended from the music of Venom, then it’s the missing link between them and something like Enya.

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David Bowie, Suede, Mantra Vega, Steven Wilson, Dream Theater, Megadeth. Can anyone remember so many high-profile releases in January?

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Panic Room video and 2016 tour dates

Panic Room have released a video of “Dust”, the dramatic closing number from the album “Incarnate”, and announced their 2016 tour dates.

There are a handful of dates at the end of March and the beginning of April taking in Milton Keynes, Norwich, Derby and Manchester, the already-announced two-day convention at Bilston in May, and a second leg of the tour across June including a showcase gig at Islington Assembly on June 18th, which will be filmed for a DVD. Full details for all the dates on the tour can be found on the the Panic Room tour page.

These will be the only Panic Room dates of 2016, as the band will be spending the second part of the year in the studio making their next album.

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The Earth Is Flat! Internet Memes Say So

I have no idea of the source of this meme

The above image is comes from a Tweet by the rapper BoB quoted in The Guardian. Did you know that the West Coast Main Line is single track and isn’t electrified? Neither did I.

I am not entirely sure whether the recent emergence of the Flat Earth Movement is a terrible consequence of rising anti-intellectualism and wholesale rejection of enlightenment values, or whether the whole thing is an epic wind-up that a few ignorant suckers have fallen for. I suppose it’s orders of magnitude less harmful than the celebrity anti-vax moement.

Occams Razor and Poes’ Law both suggest rapper BoB’s public embrace of this nonsense is nothing more than a clever publicity stunt. It’s entirely possible that astrophysicist and cosmologist Neil deGrasse Tyson is in on the joke.

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Phil Anselmo and Racist Idiocy

There is very good piece in Metal Hammer on why Phil Anselmo’s ‘White Power’ outburst shouldn’t be ignored. Plenty of metal fans are quite disgusted with this, and as the Metal Hammer piece notes, it’s not an isolated incident; he’s got past form for this sort of thing. He really ought ton have know better and not be such an idiot.

I wouldn’t blame any concert promoters for refusing to work with him or festival organisers who’d rather not have him on the bill. Getting dropped from a festival or two might concentrate his mind. Like Eric Clapton’s infamous endorsement of Enoch Powell in the 70s, he deserves to have this haunt him for years.

I guess I’m lucky that none of my biggest musical heroes have said or done indefensible things while off their heads on drink or drugs. There are one of two people for whom the less I know about their socio-political views the better. And no, I’m not going to mention any names.

The cultural climate is such that the metal world needs to go into damage limitation mode at the moment. The worst-case scenario would be an outbreak of ignorant thinkpieces by the usual suspects who have little understanding of metal subculture using Anselmo’s drunken idiocy to denouce metal itself as inherently racist. That would be followed by the inevitable defensive reaction from knuckle-dragging idiots screeching “SJWs are attackig metal”.  The metal world can really do without an equivalent of the toxicity surrounding Gamergate.

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Giles Fraser, David Bowie and Adolf Eichmann

I’m often in two minds about Giles Fraser’s columns in The Guardian. He’s always thought provoking, sometimes insightful, but sometimes completely wrong.

His unwavering humanitarianism and willingness to speak truth to power can be genuinely prophetic, especially when he speaks about subjects such as the current refugee crisis. Rather less attractive is his anti-science and anti-technology Luddism, which can be as deeply reactionary as his humanitarianism is progressive.

His recent joyless piece on Bowie was one of the worst things I’ve read on the subject; Giles Fraser came over as claiming Bowie was bad because he sang about space, and that was a sinful distraction from more important things. Keep your head down and focus on your chores, rather than look up to the sky or dare to dream. He compounded that by singing the praises of Paul Weller and Billy Bragg, who set gritty social realist lyrics to what to my ears was always drab and colourless music. I have never had much time for puritanism, in whatever form it manifests.

His piece published on Holocaust Memorial Day about the last letter from convicted war criminal Adolf Eichmann is on far more solid ground.

“There is a need to draw a line between the leaders responsible and the people like me forced to serve as mere instruments in the hands of the leaders,” Eichmann’s letter pleaded. “I was not a responsible leader, and as such do not feel myself guilty.”

In other words: not my fault, I was only obeying orders. His self-delusion was unassailable, even at the end. Eichmann’s request was denied and two days later he was hanged in Ramla prison.

In her famous account of the trial, the philosopher Hannah Arendt described Eichmann as a small-minded functionary, more concerned with the managerial hows of his job than the moral or existential whys. According to Arendt, Eichmann wasn’t a man for asking difficult questions, he just got on with the job of managing timetables and calculating travel costs – thus her famous phrase “the banality of evil

I can’t help but think yet again of Iain Duncan-Smith’s regime at The Department of Work and Pensions. No, his treatment of the disabled, callous and inhumane as it is, cannot be compared in scale to the industrialised mass murder of eleven million people. But when it comes to the banality of evil, and the indifference to suffering caused as a direct result of his actions because it all happens out of sight, the parallels are obvious.

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Is Triple J’s Hottest 100 all about White Male Privilege?

The Guardian is (yet again) trying to stir up trouble. This time it’s over the results of an end-of-year list by an Australian indie-rock radio station of being too male. It’s one of those articles where excessive use of sweeping generalisations means that the valid points the author is trying to make end up getting lost in the noise. The comments thread is a predictable car crash.

On one level it looks like a trivial twitter spat being blown up out of all proportion, and that spat itself looks like a prime example of two people talking past one another because neither is willing to recognise that the other is using a different meaning of the dreaded word “privilege”. Or that the social justice activism’s definition of the word was meant to describe structural inequality rather than be used to attack individuals.

But the wider point of whether or not a poll from an indie-rock radio station is a symbol of endemic sexism in the music scene doesn’t get coherently expressed. As some comments have pointed out, mainstream commercial pop is dominated either by female singers or male singers such as Justin Bieber with overwhelmingly female audiences. You could make a strong case that genre snobbery has a more than a whiff of sexism, especially the implication that indie-rock is somehow superior and more “authentic” than pop. But the piece doesn’t go there.

Taste in music is both subjective and deeply personal. The sorts of music people enjoy listening to, or indeed make, is often strongly gendered, and that gets more so the more you move away from the commercial mainstream. Which means it can get ugly very quickly when you inject identity politics into music fandom in a clumsy and heavy-handed manner. If you imply to someone that their preference for rock over pop somehow makes them sexist and racist, they’re likely to take it personally, and many will react angrily. Especially if you give the impression you don’t actually connect with music at a deep emotional level yourself.

If you want to point out how an awards shortlist, a festival bill or a listeners poll is too male, and there are plenty of those that are guilty as charged, you do need a bit more evidence than merely failing to meet some arbitrary gender quota. Unless of course the bias is so blatant that it’s impossible to explain away.

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