Charlie Stross dives down the rabbit-hold of fringe politics to find New Reactionaries and other, stranger sects:
This we come full-circle. The Trotskyites of old have donned the Armani suits of libertarian and neoliberal think-tank mavens. And the libertarians have begun to search for a purer pre-modern framework with which to defend themselves against the searing vision of the radiant future. Welcome to the century of the Trotskyite monarchists, the revolutionary reactionaries, and the fringe politics of the paradoxical! I hope you brought popcorn: it’s going to be nothing if not entertaining.
I’m not totally convinced by Stross’ suggestion that new reactionary Mencius Moldbug is a great writer despite his unpleasant belief system. What I’ve seen suggest he’s more of a pompous windbag who’s deeply in love with the sound of his own voice. The way he takes saloon-bar bigotry and sprinkles it with classical references to make it look profound reminds me far too much of the late Enoch Powell.
As for the former trots turned libertoids, the way some leftists go so far to the left they go off the edge and reappear on the right is a well-known phenomenom; witness how many neocons on both sides of the Atlantic were former Trotskyites, or the way Tony Blair’s home secretary John Reid turned from a Stalinist to a right-wing thug.
It’s often said that politics is circular or horseshoe-shaped in the way the hard left and hard right frequently have more in common with each other than with pragmatic moderates. I’ve even semi-seriously suggested than AD&D alignments explain politics more effectively that “left” and “right”.
But perhaps the real divide is between pragmatists and utopians? This explains why, when a utopian ideology is found wanting, many of those who abandon it don’t become pragmatic moderates, but find another utopianism to cling to.
The second half of English Electric follows in a similar vein to the first, with their very evocative and very English brand of pastoral progressive rock. The storytelling lyrical focus shifts to northern England and the twentieth century with tales of railwaymen, coal miners and shipbuilders, and it all sounds far more authentic than much 80s-style neo-prog.
Neither quite the masterpiece some hoped for nor the trainwreck some feared, the reunion of Ozzy Osborne, Tony Iommi and Geezer Butler still delivers a very solid piece of work that proves they still have something to say after all these years. If this does prove to be their final album, it’s a worthy addition to their legacy.
The best no-nonsense old-fashioned rock and roll record I’ve heard all year, by a band who sound as as though they have one foot in 1958 and one in 2013, full of short and punchy tunes that hit you right between the eyes. The end result somehow ends up reminding me of some aspects of very early Blue Öyster Cult.
An evocative and atmospheric album from multi-instrumentalist and vocalist Robin Armstrong. Though there are guest appearances from Matt Stevens and Nick D’Virgilio amongst others, Robin plays most of the instrumentation from guitars to drums to keys. The haunting title track is a standout, perhaps one of the songs of the year, and there’s a lot to like across the rest of the album.
Matt Stevens and his band in full electric mode mixing progressive rock, post-punk, indie/alternative and metal resulting in the instrumental record of the year. Narrow genre definitions cannot contain this record; it’s the sort of thing that ought to have a huge crossover appeal way beyond the narrow confines of the Prog world.
A powerful combination of grungy guitar riffs with progressive rock textures and melodies, sounding like what you might get if you combined Black Sabbath with Spock’s Beard. The end result is a record with a very contemporary feel despite its use of organic 70s sounds, old-school progressive rock reinvented for the 21st Century.
The long-awaited début from Luke Machin’s band combines some stunning instrumental virtuosity with a very mature approach to composition. Their complex and ambitious songs are a seamless blend of metal, jazz and rock into, with great use of dynamics and an ear for a good melody. This is the sound of a band from whom we can probably expect great things over the coming years.
The fruit of a successful Pledge Music project, Mr So and So’s fourth album is by far their most impressive to date. It’s a hugely varied record with some strong songwriting that uses their distinctive dual male/female lead vocals to great effect, and the harder-edged guitar-driven sound strongly captures the power and energy of their live performances.
Riverside have always been one of Poland’s finest bands, and with the combination of 70s Deep Purple style hard rock riffs and Porcupine Tree style atmospherics they have delivered what might be their best album to date. They may wear their influences on their sleeves to some extent, but they have more than enough creativity of there own to be any kind of pastiche.
A solo album from Touchstone’s keyboard player, aided and abetted by a strong supporting cast including Touchstone guitarist Adam Hodgson and former Mostly Autumn vocalist Heather Findlay. It’s a concept album with a Gerry Anderson flavour, with music reminiscent of Touchstone’s early days, plus the occasional excursion into disco-pop.
An album of Americana-tinged songs with stripped-down arrangements that emphasise the fragile beauty of the Thea Gilmore’s heartfelt vocals, enhanced this time by a string section to add some extra colour.
I have been listening to the leftover promos sent to Trebuchet Magazine, and I’m beginning to see why some professional music journalists become jaded and cynical. Some of it’s OK, but just not my thing, but I’m reminded that there is some god-awful rubbish out there.
How often does a much-hyped creative work end up leaving you cold? I’m not talking about heavily-promoted artistic flops like Oasis’ infamous “Be Here Now”. I’m thinking more of things that create a huge buzz within a given fandom, but leave you scratching your head over quite what all the fuss is about.