Author Archives: Tim Hall

Job Vacancy – Must Speak Fluent Bollocks

Can you speak fluent management bollocks? Would you like to draw a £60k+ salary in a role where the job description gives no clue as to how the position will benefit the people whose taxes will pay your salary? Well, Blaby District Council have just the job for you!

Seriously, we hear about high salary “non-jobs” in national and local government which get the reputation for being awarded to cronies of the ruling party. This post of “Director of Place” sounds suspiciously like one of those. Seriously, even the job title gives no clue as to what the purpose of the post is supposed to be for.  Maybe I’m just being cynical, and the “Director of Place” will perform a vital role in the delivery of services to the people of Blaby. But I’m not convinced.

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Is Your Music Organic?

Fiona Brice asks Is Your Music Organic?.

Are you listening to an artist or a band performing a song that they wrote themselves (I’d call that organic), or are you listening to a pop tune co-written by a conglomerate of industrial co-writers and performed by some battery hens in heels, or a genetically modified beast (see ‘Jedward’)? What are your children listening to?

If you are one of the large percentage of people approaching middle age whose music taste stagnated after they got married and put the Ikea CD shelving up, and whose only exposure to music is now via the XFactor or a few minutes of BBC radio, then it might be time to think about exploring some alternative choices

When comparing fans of independent music with foodies, there are a lot of amusing parallels, and she does make some good points. Who of us doesn’t know a few of the Ikea shelving people she refers to? But taking the food analogy to it’s logical conclusion, if Simon Cowell is Burger King, a lot of awful indie bands are closer to that dodgy late night takeaway with a freezer full of alsatian carcasses than a reputable organic restaurant.

It is, of course, very tongue-in-cheek, a sort of parody of Nigella Lawson doing music writing, rather than a Samantha Brick style lack of self-awareness. But the humour was clearly lost on far too many of Twitter’s indie hipsters, who were so up themselves they didn’t realised they’ve been Poe’d.

There’s certainly no excuse for the level of vitriol we saw on Twitter, which went from arch sneering at Brice’s mention of Queen (that one actually came from an indie singer-songwriter too) to what looked like an actual death threat. Not surprising that the author shut down her Twitter account.

Now, where did I put that Muse album?

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Tracklaying by Salvador Dali?

Trains from Doncaster to Goole and Scunthorpe in northern England are currently disrupted due to a landslip. This one looks rather more severe than a mere collapsed embankment, as this photo posted to Twitter shows:

Somehow I think this line will be closed for some time.

According to the Landslide Blog, it has the same cause as the Aberfan tragedy of 1969. Fortunately this one hasn’t caused any loss of life. The mess will still take an awful lot of clearing up.

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A well-known music publication has recently printed a strongly negative and damaging review of gig I went to but didn’t have time to review myself for this site. No, I don’t expect every reviewer to agree 100% with me, but trust me, I can tell the difference between a sincere but critical review and an agenda-driven hatchet job. I sometimes feel bad about not reviewing as many albums and gigs as I could. Especially when there are bands who are very clearly not getting the positive press their music deserves.

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Oldies

3 old class 47 models

Now I’ve got some track down on the layout, a few older models are coming out of storage.

These three class 47 locomotives all carry liveries from the early 1990s, and represented the current scene at the time I obtained them. They’re all hand-finished models from CJM, all three based on detailed Graham Farish shells mounted on the (then) superior Minitrix chassis. Despite having been stored for a decade, all three ran straight out of the box, with only 47708 (the one in Network South-East livery) running slighly jerkily, probably down to dirty pickups.

I’m wondering how many of my old Farish models of similar vintage still run, and how many have died due to split gears. The big question now is how many older models are worth resurrecting, and how many should be retired in favour of newer more accurate products coming from Bachmann and Dapol.

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Golden Rules for an Independent Band

An entertaining Guardian Music Blog piece by a band called Mazes about the 10 golden rules of being in a DIY indie band. It’s about independent bands touring the club circuit rather than “indie” as a style of music, so many of these are application to any genre. The whole thing’s worth reading (As is typical, the comments rather less so), but there are a few that jump out.

1: You probably don’t need a sound engineer
The in-house engineer at the venue invariably knows the room and sound desk better than the guy you’re paying £100 a day to drink your rider. No offence to travelling engineers, but anyone who would rather sit in a van all day for less money than they’d get for showing up to a static venue at 6pm is a sociopath

Well, perhaps not so much this one. Certainly for prog bands playing small clubs, the sound engineer is as important as anyone on stage, and can be the difference between a great gig and an unlistenable one.

I can speak from the experience having been to many gigs in small clubs, and seen people who either (a) don’t know the room or (b) don’t know the music, and screw it up very, very badly.

If your band is, to quote a musician I know, “Crash bang wallop, you’ve my Wonderwall thank you goodnight”, then it might not matter, but if the music is any more sophisticated than that…

6. Don’t slag off other bands
They will find out, or, when you bump into them buying kale in at the grocer’s and they tell you they like your new record, you will feel like dying.

Let’s not mention any names, shall we? Also don’t forget some of their fans might also be your own fans…

10. Have fun
The record industry was ruined by expense accounts and arrogance. Don’t even try to make money or think about quitting your day job. You should be doing this because you want to experience new things, to see new places, to meet like-minded people and to scratch the creative itch many of us have … the primal misguided quest to leave something when you die or for people to think you’re “cool”. Make music that you’d like to hear.

The last line needs to be engraved on the heart of everyone who wants to make great music.

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Where Nations Collide

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This is an ambitious project, which is an attempt to combine my British and Swiss modelling interests in a single layout. The idea is for a fixed track plan that will work either as a British or a Swiss outline layout, with scenery and buidings as swappable modules to enable the layout to be run in either mode. Time will tell whether or not this approach will actually work or not, but the intention is an operation-based layout rather than a exhibition-quality display layout.

It centres around a junction station between a double track main line and a single track branch, with a five-road marshalling yard for wagonload freight. In British mode it’s a Par/St.Blazey/Lostwithiel mashup with the yard handling china clay traffic. In Swiss mode it’s somewhere on the Lötchberg line with elements of Frutigen and Kandersteg. The fiddle yard is currently six main line tracks, although I have plans to expand this to eight. I haven’t completely decided how to configure the branch fiddle yard.

SONY DSC

It’s at a very early stage of construction at the moment, since the track plan isn’t completely finalised, and nothing’s actually fixed down or wired up. This is the far end of the line, with the junction with the branch and a couple of roads of the yard in place.

SONY DSC

What will be the station area, with a Dapol class 122 “Bubble car” looking a bit lost. The Speedlink/Enterprise era freight stock in the goods loop is being used to check clearances and siding lengths, and represents the longest train the yard can handle.

SONY DSC

A steam-era freight at the other end of the layout. Despite the mixture of stock while test running, it’s intended to keep to one era during operating sessions, so you won’t be seeing kettles and modern air-braked freight stock at the same time, at least not when anyone is looking.

The track is all Kato Unitrack, some of it ten years old and on it’s fourth layout. No, it doesn’t match hand-ballasted Peco Code 55 in appearance, but that’s not what it’s for. I’m using a mix of #6 and #4 turnouts; all main line points with the exception of one trailing crossover are #6s, while the yard is all #4s. I’m done this because the some older rolling stock with cruder wheel profiles isn’t happy on the lightly-sprung #4s, but #6s don’t give closely-enough spaced tracks for the yard.

More updates will come as construction progresses.

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Swallow, The Butler, Reading

Swallow at The Butler in Reading

I don’t usually do covers bands, but since this one was just round the corner from me, it would have been rude not to. Swallow are the Reading-based classic rock covers band fronted by Crimson Sky’s Jane Setter, with Diane Fox (above) on bass, Nick Martin on guitar, and Ade Ogden on drums. Their repetoire includes songs from Blondie, Uriah Heep, Golden Earring, Jefferson Airplane, and expecially for this gig, Led Zeppelin.

Swallow at The Butler in Reading

It’s not many gigs where I end up with more good photos of the drummer than of the singer, but pub gigs of this nature can be a challenge to photograph. The “stage” was wide but not very deep, with everyone in the front row. I was impressed with Ade’s drumming, and indeed the tightness of the whole band, as demonstrated by a very powerful version of “Radar Love”, one of the high spots of their first set. As a basic guitar-bass-drums-vocals lineup some songs needed to be played in a stripped-down forum, but the band’s arrangments worked, even managing to do Uriah Heep’s “Easy Livin’” justice without keys. I liked the way Diane Fox played the piano intro for UFO’s “Doctor Doctor” on bass.

Swallow at The Butler in Reading

Most of their second set was Led Zeppelin songs, at the request of the venue. Having seen the likes of Karnataka and Panic Room play Led Zep standards as encores, I’ve always thought Led Zeppelin songs work extremely well with female vocals, and the half-dozen songs they played, drawn largely from the early albums proved to be a very good fit for Jane’s voice. Somehow I doubt that Robert Plant could hit the high notes on “Immigrant Song” nowadays. And if Jane Setter could do Robert Plant, Ade Ogden also did a very convincing John Bonham.

While I still prefer to see bands play original material, it nevertheless makes for an entertaining evening, and Swallow do what they do extremely well.

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Representative Democracy’s Failure Mode

Author Charlie Stross talks of the beige dictatorship much of the developed world seems to be living under.

For a while I’ve had the unwelcome feeling that we’re living under occupation by Martian invaders. (Not just here in the UK, but everyone, everywhere on the planet.) Something has gone wrong with our political processes, on a global scale. But what? It’s obviously subtle — we haven’t been on the receiving end of a bunch of jack-booted fascists or their communist equivalents organizing putsches. But we’ve somehow slid into a developed-world global-scale quasi-police state, with drone strikes and extraordinary rendition and unquestioned but insane austerity policies being rammed down our throats, government services being outsourced, peaceful protesters being pepper-sprayed, tased, or even killed, police spying on political dissidents becoming normal, and so on. What’s happening?

Stross goes on to highlight the way the Equal Marriage bill passed precisely because no powerful vested interests stand to lose from it, and it gives the government a veneer of progressivism. But we’re unlikely to see any movement on the war on drugs, no matter how much human misery it causes, because the vested interests in the status quo are so powerful.

Tony Benn once said that our fate is now in the hands of bankers we did not elect, and cannot remove. Whatever you think of Tony Benn, it is clear that corporate interests, not the people, increasingly set the political agenda. It’s almost impossible to see equivalents of the large-scale social reforms by Liberal and Labour governments in the first half of the 20th century happening under today’s political systems. Indeed, many of those achievements are now being dismantled to the benefit of corporate interests against the wishes of the majority of the electorate. How many people actually voted to break up and privatise the NHS, for example?

When disparities in wealth in the USA have reached the levels of pre-revolutionary France, I can’t see how the situation is remotely sustainable, no matter what amount of bread and circuses. Hopefully the western world can avoid something as traumatic as the French Revolution, but the democracy isn’t performing the self-correcting function it’s supposed to.

I believe voting on it’s own will change nothing, and representative democracy will only start delivering governments that actually reflect the will and interests of the people after the real battle has been won elsewhere.

The internet may turn out to be a major battleground, as it provides a way around the corporate media. This is one reason why power-grabs like SOPA need to be resisted. The stakes are far, far higher than protecting the entertainment industries against “piracy”. If the web devolves into a cross between cable TV and a shopping mall, with other voices silenced or marginalised, that field of battle will be lost.

What do you think?

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Morpheus Rising – Bending Light

A rough demo of a new song “Bending Light”, a track which should on their forthcoming album due later in 2013.

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