Author Archives: Tim Hall

Geek Social Fallacies

Whenever there is drama online, it’s always worth paying attention to the Geek Social Fallacies.  In this case, #4: Friendship Is Transitive

Every carrier of GSF4 has, at some point, said:

“Wouldn’t it be great to get all my groups of friends into one place for one big happy party?!”

If you groaned at that last paragraph, you may be a recovering GSF4 carrier.

GSF4 is the belief that any two of your friends ought to be friends with each other, and if they’re not, something is Very Wrong.

Hands up who else groaned at that, and immediately thought “That’s exactly what’s wrong with Facebook”?

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Gigs of the Year – 2013 Edition

Panic Room at Sound Control in Manchester

I went to so many gigs in 2013 I ended up losing count; everything from local cover bands in pubs to rock monsters in enormodomes, and everything in between. There have been a few gigs outside my usual comfort zone, such as The Damned and The Orb; I even went to see Iron Maiden at the O2 Arena, a band I last saw in 1982.  I even went to see a Fleetwood Mac tribute band…

Picking a best-of list out of all those gigs is a hard one, but these six stand out as ones to remember for all the right reasons.

Marillion – UK Convention Saturday

Marillion’s fan conventions are always amazing experiences, with a hall full of hardcore fans and three sets with completely different setlists over the three nights. The end result is an electric atmosphere that few regular gigs can approach. All three nights in Wolverhampton were amazing experiences, but for me the best of the three was Saturday, with the dark, intense concept album “Brave” played in its entirety.

Fish – Islington O2 Academy

I got to see Fish four times this year, twice in his spring tour before the band went into the studio to record the album, and twice in the autumn on the tour to promote the album. All were great shows, with the big man on superb form, the London gig in May was a real standout.

Steve Hackett – Hammersmith Apollo

I wasn’t entirely convinced by Steve Hackett’s restatement of his Genesis legacy in the studio; the re-recorded versions seemed to add little to the much-loved favourites. But live it was a completely different experience; a triumphant and uplifting celebration of the magnificent music that deservedly won many standing ovations.  The Guardian completely missed the point.

Panic Room + Morpheus Rising – Manchester Sound Control

Panic Room have had a few ups and downs this year, forced to regroup following the departure of lead guitarist and founder member Paul Davies. Their tour in early summer featured Morpheus Rising’s Pete Harwood standing in guitar doing double duty with both the headliners and his own band. The tour ended with two superb shows in Bilston and Manchester demonstrating the band’s ability to triumph over adversity, with great support from Morpheus Rising, themselves premiering a lot of new material.

Mostly Autumn + Chantel McGregor, Islington O2 Academy

Mostly Autumn have been a bit hit-and-miss as live band during 2013, with fluctuating lineups from gig to gig due to various members’ other commitments. But the stars aligned when they came to London in Ocober. Chantel McGregor’s incendiary opening set gave the whole show the feel of a co-headliner, and Mostly Autumn’s barnstorming set had to be one of the best shows they’ve done in the past two or three years.

Steven Wilson, Royal Albert Hall

Steve Wilson came to London’s most prestigious major venue with his band including Theo Travis, Guthie Govan, Nick Beggs and Zappa alumnus Chad Wakerman, with the combined virtuosity you’d expect from a top-flight jazz ensemble rather than typical rock band. They proceed to delivere a mesmerising set drawn almost entirely from Steve Wilson’s three recent solo work, reinventing 70s Mellotron-drenched progressive rock to make it relevant to the 21st century. There are still people missing Porcupine Tree, but on the strength of shows like this, his new band are very good trade.

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Recruiters are still talking about “Rock star developers”.  One consequence of being a software tester by day and music critic by night is that I don’t even want my rock stars to be rock stars. Do we really want the sort of egos who send emails in 14 point red bold arguing that the bug you raised was a missed requirement rather than a coding error?

Give me Rock Star Developers and I’ll test their work as if I’m Paul Morley writing for the NME in 1981…

Posted on by Tim Hall | 2 Comments

The Guardian: No overlap with me

So The Guardian’s end-of-year album list has zero overlap with mine. I recognise that despite their positive reviews of both the album and the Albert Hall gig, Steve Wilson’s “The Raven That Refused To Sing” was never going to be Guardian enough to feature, but I did wonder if Goldfrapp’s “Tales of Us” or perhaps even Black Sabbath’s “13″ would make the cut. But they didn’t. For those who might be interested, their album of the year was Kayne West’s “Yeezus”. I don’t know enough about hip-hop to be able to say whether it’s good, bad or indifferent, but they closed the comments after about 12 hours in which 700-odd people were decidedly unimpressed with their choice.

Sadly The Guardian’s list is yet again a rock-free zone. The top end of the list seems to be made up almost entirely of hip-hop and mumbling indie, as if they were the only genres that exist. Those records might well be the best hip-hop and mumbling indie records released this year, but anything properly resembling rock is conspicuous by its absence. As is anything strongly based around melody; where, for example was Goldfrapp’s beautiful “Tales of Us”

No, I’m not expecting the whole list to be filled with rock and metal releases, but there’s not even a token presence there. It comes over as so NME it’s quite embarassing; Paramore are the closest to “rock” that it comes, and they come over to me as rock music watered-down for people who don’t really like rock music, mainly marketed to children.

I’ve listed to a few of the YouTube videos or sound clips attached to their features whenever the description made it sound as if it might be worth a listen. But I haven’t heard anything at all that makes me want to listen further to any of them. A lot of it comes over to me as far too scratchy and tuneless to hold my attention. It may well be deeply symbolic of man’s struggle against his social-political environment, but lacks any compositional depth or instrumental flair.

Indeed, Kitty Empire writing about White Denin gave the game away with the line “Bands this proficient can easily end up making pointlessly masturbatory virtuoso-rock“. I found White Denin boring, a band playing well below their abilities is if they were trying too hard to appeal to people like Kitty Empire.

Yes, there are plenty of people out there who like that sort of thing; but it leaves me feeling that a publication that’s not supposed to be a narrow genre-specific one like Kerrang it ought to be covering a far broader spectrum of music that it does, and cover the sorts of music that appeals to a broader range of age groups that just spotty yoof alone.

One wag made a comment suggesting that the list was by thirtysomethings writing about music made for twentysomethings then being sneered at by fortysomethings in the comment threads. But it does make the point that there isn’t nearly enough music in there for grown-ups. And there isn’t nearly enough rock.

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A Genuine Freakshow call it a day

"A Genuine Freakshow"

Reading band A Genuine Freakshow have called it a day.

We have decided after many years to bring an end to A Genuine Freakshow.

Our reasons are three fold: financial (we haven’t got any money), geographical (we now live further away from each other than we did before) and musical (less of this than the previous two).

First of all we would like to thank everyone who has ever come to one of our gigs, bought a record or a tee shirt (or an Ultimate Fighting Combo!). You have quite literally kept this band going for longer than we thought was possible, so thank you.

A Genuine Freakshow were an impossible band to categorise, with elements of post-rock, indie-pop and progressive rock in their music. The seven-piece made a huge sound, featuring cello and violin and trumpet alongside guitars and drums. I first saw them playing in a medieval church in Reading playing a set that climaxed with the shimmering wall-of-sound of “Luckmore Drive”, enhanced by the wonderful acoustics of the building.

It’s always sad when a band calls it a day, but I hope the various band members will resurface in new projects.

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Ronnie Biggs was a criminal thug who destroyed the lives of two innocent people who were just doing their job. The people we must not forget are Driver Jack Mills and his secondman David Whitby, both of whom never recovered and both died before their time. Biggs and his accomplices were no folk heroes, and screw those who try to romanticise their crimes.

Posted on by Tim Hall | 1 Comment

I am beginning to think it’s time for all of us to dump Facebook and go back to forums, blogs and email. Facebook tries to be all of those things mashed into one, and succeeds only in doing them all badly. Its only success has been in killing off everything that did those things better than Facebook does.

Posted on by Tim Hall | 4 Comments

Marillion – Carol of the Bells

Marillion’s Christmas single, available on iTunes, Amazon and all good Internets. Because there are plenty of traditional carols that can be improved by adding a Steve Rothery solo.

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And where can you buy them?

People are asking how you can buy the albums listed in my end-of-year list…

While you can get some of them, including Haken, Touchstone and Maschine from HMV (that’s if you still have an HMV), quite a lot of these are independent releases that don’t tend to be stocked in the high street.

 

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2013 Album of the Year

Luna Rossa – Sleeping Pills and Lullabies

Luna RossaSomehow I don’t think many regular readers of this blog will be surprised at my album of the year. When I get comments asking what Panic Room would have to do to get a bad review, and get members of the band quoting those comments to me, I’m probably guilty as charged of being a fanboy. So don’t just take my word for it. There are many, many other people who agree that this is a stunningly beautiful work.

Luna Rossa are, of course, Anne-Marie Helder and Jon Edwards of Panic Room in acoustic mode, with the focus on Anne-Marie’s voice accompanied by Jon’s grand piano, with strings, acoustic guitar, some electronic percussion, and all sorts of other strange instruments adding colour. Parts of the album have a Panic Room unplugged feel, others are more experimental with echoes of Kate Bush and Massive Attack. It’s the sort of record that ought to have a crossover appeal well beyond Panic Room’s rock audience.

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