Author Archives: Tim Hall

Bigelf – Control Freak

BigElf are back! Their new single “Control Freak” comes from their forthcoming album “Into The Maelstrom”.

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The Melvins’ Dale Crover shares hs top five tips for keeping the band together. Two of which are “Never have a hit”, and “Keep sacking the bass players”.

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FUNCTEST stands for Functional Test. As opposed to FUNKTEST, where you raise a bug if the drummer doesn’t have a good enough sense of rhythm

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What does the spec say again?

Today I came across and logged a bug, which on closer examination turned out to be a result of an ambiguously-worded line in the specification rather than a simple coding error.

I mentioned this on Twitter during a mid-morning coffee break, and got two contrasting responses.

The first was that the written specification is just the starting point of a conversation between the Business Analysts, Developers and Testers over exactly what the system should look like, and constant communication will resolve any ambiguities as the development proceeds.

The other was that a developer should not be expected to question things in an environment where even the smallest changes require signing off from multiple people with different conflicting agendas. In such circumstances it’s easy to see why a developer might make guesses rather than ask questions.

My reaction to that is that if you’re trying to develop software in an organisation as bureaucratic as in the second case, you run the risk of ending up with software that’s every bit as dysfunctional as the organisation itself.

I’ve worked on projects like that in previous lives, with great long specifications written in great detail for the benefit of the developers who were supposed to implement the thing, but completely failed to give the business stakeholders any real impression of the actual functionality. But the stakeholders went and signed it off anyway, perhaps because they wouldn’t admit, maybe even to themselves, that they didn’t really understand the thing. Needless to say that project went horribly pear-shaped and turned into a nightmare death march as the development team were buried under a mountain of change requests.

Are there still organisations that develop software like that?

While I’m still in Waterfall-land, fortunately my current project is nothing like that. In the end, I got given the task of rewriting that bit of the specification to remove those ambiguities.

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Is Rock Dying?

Fozzy at Reading Sub89

In the editorial of Classic Rock Magazine, Scott Rowley asks “Is Rock Dying

“Rock’n'roll has died,” former Buckcherry bassist Jimmy Ashhurst Facebooked recently, “and nobody’s really that pissed because we caught it in a box and can look at it whenever we want.” Ginger Wildheart posted similar sentiments days after the Sonisphere headliners were announced. “It would appear that rock music is finally on the machine that goes bing,” he wrote. “The revolving door of (fewer than 10) worthy festival headliners indicates, to me anyway, that we have outlived the era of ‘big rock’.”

The cracks aren’t just beginning to show, they’re as wide and deep as the lines on Keith Richards’ face. The legends are getting older and, let’s face it, dying. In a decade’s time, can we reasonably expect to see tours from Bob Dylan (aged 72), the Rolling Stones (oldest member: 72), Motörhead (Lemmy is 68), Lynyrd Skynyrd (Gary Rossington: 62) or ZZ Top (Billy Gibbons: 64)? Who will fill the country’s stadiums, headline our festivals and fill our arenas then?

One problem is that many classic rock fans are just too conservative, expecting pastiches of their old heroes rather than giving bands with a newer sound a chance. Another is a “mainstream” pushing too much watered-down mediocrity and calling it “rock”. And the rock/indie tribal divide has a lot to answer for as well. How many of the people complaining that rock is dying also insist that Muse are not a rock band?

If rock is to have a future, it won’t sound like copy of its past. I’m sure that there’s a place for exciting new rock bands who have ambitions of being more than glorified Thin Lizzy tribute acts. When I hear young bands such as Haken, I’m sure rock does have such a future.

Whether any of these bands will be part of the mainstream in the same way Led Zeppelin and Pink Floyd were in the 1970s remains an open question. Artists like Steven Wilson, Opeth and Nightwish can fill venues like The Royal Albert Hall or Brixton Academy, but their music is probably too dense and sophisticated for the average daytime radio listener. Do they not represent the real present and future of rock, free from having to confirm to mainstream fashion?

In the end, if ambitious and creative bands can find a big enough audience for them to continue making music on the scale that they want to make it, does it actually matter whether it’s on the mainstream radar or not?

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Rainbow – Singles 1975-1986 Box Set

Rainbow Box Set The Rainbow Singles Box set is a reissue of all the singles released by Rainbow from the years 1975 to 1986 on nineteen CDs in reproductions of the sleeves of the original 7″ singles. Over that period the band went through many lineups and changes in style, with the mercurial guitarist Ritchie Blackmore the sole constant factor.

The first incarnation of Rainbow with the late Ronnie James Dio was a classy hard rock act. The Dungeons and Dragons imagery of songs like “Sixteenth Century Greensleeves” launched a thousand Scandinavian power-metal bands, but musically they were way ahead their time, and you can hear their influence right across hard rock and metal three decades later. The way Ronnie Dio takes Deep Purple’s “Mistreated” and makes it his own shows what a class act he was as a vocalist.

At the end of the 70s Rainbow headed in a more commercial direction, now fronted by Graham Bonnet. They scored two big hits in the UK, the Russ Ballard-penned “Since You’ve Been Gone”, and dreadfully sexist “All Night Long” with that infamous toe-curlingly bad line “Don’t know about your brain but you look alright”. The B-side, though, is an absolute gem, the sublime neo-classical instrumental “Weiss Heim”.

The 80s material with Joe Lynn Turner on vocals hasn’t aged quite as well as the music from the Dio years. Although it has its moments, especially the final flourish of “Street of Dreams”, much of the American-style AOR now sounds very dated, with Blackmore seemingly intent on creating a poor man’s Foreigner. Possibly the nadir of the whole collection is “Difficult to Cure”, the cod-classical rock version of Beethoven’s ninth, which simply sounds embarrassing.

The boxed set includes all the singles released across different territories, so we get a lot of duplication where different countries got different B-sides for the same single. The same version of some songs appear two or even three times, and there no fewer than four versions of “Man on a Silver Mountain”. Rainbow only ever recorded three non-album B-sides, all of which were included on the still-available odds-and-sods compilation “Final Vinyl”, so there is little here for completists. As far as I can tell, the only tracks not available elsewhere are a couple of bootleg-quality live recordings from the Joe Lynn Turner era.

While it’s nice as a physical artefact, it does leave you wondering quite what the point is, especially given the very hefty price tag. As a Rainbow retrospective it’s missing too many of the obvious album highlights; no Stargazer, no Eyes of the World, no Gates of Babylon. You’re left with the conclusion that the whole thing is really targeting the “Birthday Present for Dad” market far more than that of the discerning music fan, and if you listen very carefully, you might hear the sound of a barrel being scraped. If you have fond memories of Rainbow from the 70s and 80s and only owned the records on vinyl, the relatively recent remasters of the original albums represent far better value for money.

In short, at £65 (Amazon UK’s pre-order price) for three-and-a-half hours of actual music is a complete rip-off. The whole thing stinks of a cynical record-company cash-in that the band most likely had no say in.

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Morpheus Rising – Eximius Humanus

Eximus Humanus“Eximius Humanus” is the second album by York-based metal/hard rock five-piece Morpheus Rising, funded through a successful Kickstarter campaign.

The electronic openings and industrial riff of “Superhuman” throw the listener a bit of a curve ball at the very start, but it’s the big riff of the second number “Looking for Life” that sets the tone for the rest of the album. It’s old-school twin-guitar metal at its core, with Iron Maiden and Judas Priest as the strongest influences, with a bit of goth atmospherics and progressive rock textures for good measure. The whole thing is anchored in solid songcraft. “Day One” with it’s AOR-flavoured vocal harmonies is a bit of a departure, and a real highlight is “Bending Light” with Pete Harwood’s e-bow solo, a sound you don’t hear much on metal albums.

The twin guitars of Pete Harwood and Damien Sweeting remain at the heart of the sound. Their contrasting styles work well together, Harwood’s melodic textured playing complements Sweeting’s flashier pyrotechnics. With new drummer Nigel Durham, once in Saxon, alongside Mostly Autumn bassist Andy Smith, the new-look rhythm section has a solid power and groove. At times it makes you wonder whether Mostly Autumn are making full use of Andy Smith’s talents.

But it’s vocalist Si Wright who has really raised his game on this record. The band’s début album consisted largely of material written before he joined the band. This time, with an entire set of songs written to take advantage of his greater range, he has found his voice far more impressively. In an age where rock vocals are expected to be growling, screaming, or flat and gravelly, Si Wright’s performance on this album represents old-school hard rock vocals at their finest. He’s got both a range and power, and a degree of emotional depth.

As a rule, metal bands don’t really do “difficult second albums”, and Eximius Humanus is further evidence of this rule. The album comes over as a stronger statement of intent than their début. Morpheus Rising have given a modern makeover to a sound rooted in great hard rock tradition.

You can pre-order the album now from the Morpheus Rising website.

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Testers and software engineers love to argue over whether a bug is a coding error or a missed requirement. But when it causes this much damage to people’s lives, then such hair-splitting doesn’t really matter.

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Also Eden & Morpheus Rising co-headliner

Also Eden Morpheus Rising

As readers of this blog ought to have noticed, I’m a big supporter of co-headline gigs, where two highly complementary bands not only give audiences good value for money, but both bands gain exposure to each other’s fanbases.

Also Eden and Morpheus Rising have played on the same bill before, and they’re together again on March 8th at The Asylum 2 in Birmingham. This ought to be a great night.

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Is anybody really surprised by the news that a survey by Passenger Focus has named Birmingham’s New Street station worst for ‘overall satisfaction’?. It’s always had the feel of an airport departure lounge attached to an underground car park, and the current rebuilding does nothing to solve its fundamental problems.

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