Author Archives: Tim Hall

Monte Cook bails on Dungeons and Dragons 5th Edition

Wizards of the Coast have been working away on a new edition of the iconic tabletop pencil-and-paper roleplaying game Dungeons and Dragons for some time. It’s prompted much speculation on the net over direction the new edition might take.

The previous 4th edition had radically changed many aspects of the game, and had rather divided the fanbase. To make things worst, they open-sourced the rules for the previous third edition, which resulted in them competing with several rival versions of the game, from Paizo’s well-supported Pathfinder RPG based on the superseded Third Edition, to a slew of small-press games under the loose banner of the “Old School Renaissance”, all based on much earlier editions.

With the new edition, they announced ambitious plans to reunify the whole thing, a seeming impossible task of reconciling different groups of fans who really want to play what had in effect become several completely different games. One wonders whether such a thing is even possible, let alone desirable.

When the lead designer quits mid-project, it’s a sign things are not going well.

On Monte Cook’s Livejournal:

Last week I decided that I would leave my contract position with Wizards of the Coast. I am no longer working on Dungeons & Dragons, although I may provide occasional consultation in the future. My decision is one based on differences of opinion with the company. However, I want to take this time to stress that my differences were not with my fellow designers, Rob Schwalb and Bruce Cordell. I enjoyed every moment of working with them over the past year. I have faith that they’ll create a fun game. I’m rooting for them.

Due to my non-disclosure agreement, as well as a desire to keep things on a professional level, I have no intention of going into further detail at this time. (Mostly, I just hate drama, and would rather talk about more interesting things.)

The net is awash with talk of the whole thing going horribly pear-shaped. Now, I know nothing about the direction the game was supposed to be taking, and haven’t played much D&D since 1st/2nd edition (I’m that old!). But it does sound a bit like an archetypal failed large-scale IT project, doomed from the start by over-ambitious and contradictory requirements. Add a few egos and some corporate politics, and it’s easy to see how easily such a project might run into trouble.

It’s worth noting that Dungeons and Dragons is relatively unusual in that the entire game has changed almost out of all recognition between editions, and other games which had done similar things had unhappy histories. Call of Chulhu, for example is still recognisably the same game as it was back in the early 1980s, while Traveller, after a complicated and somewhat messy history has now reverted to something looking a lot like the classic late 70s rules, under the stewardship of Mongoose games.

I don’t really have a dog in this fight, since my tastes have moved away from the rules-heavy combat-centric approach of D&D to more lightweight games that emphasise story and setting. But it will be very interesting to see how this all pans out.

Posted in Games | Tagged | 7 Comments

Storm Corrosion – Drag Ropes

First taste of Mikael Åkerfeldt and Steve Wilson’s new project Storm Corrosion, accompanied by a dark and tragic puppet show which fundamentalists are probably not going to like.

As for the brooding, sinister and cinematic music, for which the imagery is a perfect match, there are the occasional echoes of both Porcupine Tree and Opeth, but it’s got a sound all of it’s own.

Posted in Music, Music News | Tagged , , | Comments Off

Riversea – Out of the Ancient World on pre-order

The long awaited début album by Riversea, the collaboration of Marc Atkinson and Brendan Ayre is now available for pre-order.

OUT OF AN ANCIENT WORLD is the debut album from Riversea, the band is the nucleus of Marc Atkinson (vocals/acoustic guitar) and Brendan Eyre (piano/synths), however Marc & Brendan are joined on the album by Alex Cromarty (The Heather Findlay Band) on drums,with guitar duties spread between Bryan Josh, Liam Davison (Mostly Autumn), Paul Cusick, Adrian Jones (Nine Stones Close), Mark Rowen (ex Breathing Space), Adam Dawson (Stolen Earth), and Ashley Mulford (Sad Cafe,Mandalaband). Bass duties are performed by Dave Clements, and backing vocals provided by Olivia Sparnenn (Mostly Autumn), Janine Benn and Louise Dawson, last but not least,Tony Patterson (Regenesis/So Gabriel) adds flute.

The album had been so long in the making I almost wonder if the title is an allusion to how long ago Marc and Brendan started out! The list of guest musicians reads like a who’s who of the rather incestuous York prog scene, including no less than four different people who had played lead guitar for Breathing Space.

Anyway, here’s a taster from the album, the song “Eden”:

Posted in Music, Music News | Tagged , , | Comments Off

More Reviews

Photo & Video Sharing by SmugMug

There haven’t been as many reviews on this site lately, because I’ve been writing instead for Trebuchet Magazine, which has a much higher profile that this blog.

My most recent live reviews over there have been The Esoteric Antenna showcase at The Borderline featuring The Reasoning, Sanguine Hum, Panic Room and headliners Tin Spirits, and before that, Touchstone supported by Heather Findlay & Chris Johnson at The Duchess in York.

I’m also reviewing albums that Trebuchet have received for review from record labels; the last of mine is of “Oro: Opus Primum” by doom-sludge merchants Ufomammut.

Posted in Live Reviews, Music | Tagged , , | Comments Off

And People Accuse Prog of Conservatism?

A link to a press release for a new band it might be better not to name turned up in my Twitter feed.

A band who struck a chord with each other and found a common ground in the love they have for the same music – bands with identities and guitars!

Wow! Guitars! Whatever will they think of next? Will they actually learn to play them?

The guys are armed with a strong identity and craft for song writing. They brim with a confidence not seen since the Britpop days with songs that reach to grab you from the intro and don’t let you go till the last note is viciously struck in a punk vein.

What can I say? With a press release as clichéd as that, can we assume the music is equally formulaic? And it’s the second time you’re used the word “identity” too. Does this perhaps imply an emphasis on style at the expense of content?

Lyrically they offer an insight into the social commentary and satire of contemporary suburban British life, with choruses to get you singing along and po-going the night away to your hearts content.

Let me guess. Songs about fights outside kebab shops on a Friday night. I bet nobody’s done that before…

They put on a captivating live show and are often described as a musical blend of Blur, Bloc Party and Wire. A juggernaut of a sound!

As a metal fan, I have trouble using the word “juggernaut” when it’s abundantly clear by now that we’re talking three-chord indie. Other vehicle descriptors might be more appropriate. How about “moped”?

I did listen to their promo on YouTube. Well, about 45 seconds of it, which was as much as I could stomach. It was every bit as bad as I feared; tedious, tuneless landfill indie-by-numbers. The breathless Nathan Barley style PR guff had inadvertently described it very well, but just not the way the author had intended.

People accuse progressive rock of being a conservative and backward-looking genre, and a lot of it is probably guilty as changed. But in my mind 90s Britpop was a far worse offender with its insular parochialism and extremely limited palette of musical influences. Much of it came over as a pastiche of the same second-division guitar pop that represented the “stagnant musical forms” Steve Hackett famously wanted to get away from back in 1970, combined with a bit of watered-down punk shorn of the visceral energy that was really the whole point of punk.

It was bad enough in the 1990s. Making the same sort of music in 2012 is a pastiche of a pastiche. That ship has not so much already sailed as been consigned to the breaker’s yard.

Posted in Music, Music Opinion | Tagged , | Comments Off

Cambridge Rock Festival Springfest Cancelled

Sad news today that the spring edition of the Cambridge Rock Festival, which was to have featured Chantel McGregor, Karnataka, Winter in Eden and Ebony Tower, among many others, has been cancelled because the site is waterlogged after the recent heavy rain.

As stated on the CRF website:

It is with deep regret that The Cambridge Rock Festival has had to cancel it’s Spring Edition Festival, which should have taken place 27-28-29 April (this coming weekend). Due to adverse weather conditions preventing the infrastructure being installed.

However The Cambridge Rock Festival 2-3-4-5 August will still take place.

Very disappointing news, although holding a festival on an outdoor site this early in the season was always going to be a bit of a risk. The August festival is shaping up to be a good one, though, with a very strongly prog-orientated lineup this year, with Caravan, Focus, It Bites, Touchstone and Flanborough Head along with virtually the whole Mostly Autumn extended family of bands.

Posted in Music, Music News | Tagged | 4 Comments

Anders Breivik and the Anarcho-Fascists

The way the Norwegian authorities have given terrorist Anders Breivik a very public trial has generated a lot of controversy. I have read a lot of people arguing that it’s giving him a platform for his poisonous ideas. The counter-argument is that showing him for what he is will serve to discredit everything he stands for.

Breivik may or may not be insane, but it would be far too convenient for some people to dismiss his “Crazy Talk” as the ravings of an isolated madman who’s actions took place in a vacuum. But that doesn’t wash. Too much of what he says had been common currency in far-right circles for years. It’s not just from openly fascist or crypto-fascist fringe groups on the internet either, but, as I’ve previously mentioned, from semi-respectable columnists in large-circulation national newspapers too.

And there are a frighteningly large number of people who think like him. Just look at how they’ve overrun the comment sections of many online articles about the trial.

Like it or not, Anders Breivik’s terrorist atrocity was the 9/11 of the Freepi.

The rightwing press are predictably attempting to scapegoat video games to deflect attention from just how extensively Breivik cited their own columnists. Rock, Paper, Shotgun has a comprehensive takedown of their attempt at a distracting moral panic. Meanwhile Breivik’s closer online confederates on both sides of the Atlantic are desperately flailing, citing his copying of Al-Qaeda’s methods in an entirely unconvincing attempt to prove this despicable act of terrorism has nothing to do with them.

This really ought to serve as a wake-up call on the threat posed by the far-right, who have been gaining strength in recent years, especially now we’re in a deep recession. They have an increasing transatlantic dimension, with the openly racist faction of the “Tea Party” forging closer and closer links with various European neo-Fascist groups. A few right-wingers predictably complain that the left are trying to politicise the tragedy. But when faced with a terrorist atrocity that was a clear and deliberate attack on European social democracy, what is anybody supposed to do?

Freepi – coined by Teresa Nielsen-Hayden of Making Light to describe the post-9/11 wingnut right.

Anarcho-Fascist – A conflation of “Anarcho-Capitalist” and “Crypto-Fascist” I originally used to describe a particularly loopy blogger and troll a few years back. Today it seems an appropriate descriptor for anyone that runs an Islamophobic hate site with a name like “Atlas Shrugs”.

Posted in Uncategorized | Tagged , , | 4 Comments

Crimson Sky, Reading, 31st March 2012

Saturday 31st of March saw Reading’s Prog event of the year; a showcase gig featuring Crimson Sky marking the début of their new vocalist Jane Setter, co-headlining with Grey Lady Down, with support from John Mitchell of It Bites/Arena/*Frost fame. It took place in South Street Arts Centre, a lovely little venue five minutes from the centre of Reading.

Despite the competition the same night from Touchstone at the Peel and (because prog fans travel) Magenta up in Wath in South Yorkshire, there was still an appreciable-sized crowd. To emphasise that this was an event, not just a regular gig, we had a Master of Ceremonies in the form of Tinyfish’s Rob Ramsey, who certainly dressed for the occasion.

John Mitchell was originally billed to appear solo, but a couple of days before the gig it turned into a duo of him and keyboard player John Beck, making it half of It Bites. The pair of them put in an impressive performance combining recent It Bites tunes with some well-chosen covers; their take on Peter Gabriel’s “Here Comes The Flood” was spine-tingling.

Grey Lady Down were a 1990s band, one of the acts on the independent Cyclops label. Recently reformed after a ten year hiatus, and expanded to a six-piece with twin guitars, they played a tight, powerful and quite heavy set. Highlights were the hard-rocking opener “And Finally”, and the intense “Paper Chains (the Crime Part 3)”, both from their 1997 album “Fear”. Even if their brand of 80s-style neo-prog wasn’t stunning original, they did deliver a passionate performance with some strong material. It’s nice to see them back.

Crimson Sky’s appearance was their first since a very poorly-attended gig in Swindon more than a year ago. That was the one and only live appearance of the short-lived lineup with Janey Summer on vocals, replacement for Holly Thody who’d appeared on their one album to date, “Misunderstood”. Tonight was the first live appearance by an all-new incarnation of the band, with Jane Setter taking up the microphone as their third lead singer.

Crimson Sky fall within the broad spectrum of progressive rock, but while they have the traditional 5-piece prog lineup of vocals-guitar-keys-bass-drums they’re not a generic neo-prog band. They’re not averse to the occasional classically-derived flourish or widdly keyboard solo but there’s also something of a spiky 80s new-wave edge on quite a few songs, and their sound has a lot more space in the mix compared with GLD’s wall-of-sound approach. The dominant instrumental sound is Martin Leamon’s guitar playing, whether it’s indie-style jangle, metallic riffage or fluid jazz-flavoured solos. Much of the time he’s soloing throughout the song behind the vocal rather than playing straightforward chord progressions.

I’d seen Jane Setter fronting a local prog covers band (yes, there are such things!) a few times in the Reading area, and this gig is clearly a significant step up to a bigger stage. She not only has a great voice, but combines it with a strong stage presence. With much of the set taken from “Misunderstood” she rose to the challenge of taking another singer’s material and making it hers without changing the songs out of all recognition, something that’s easier said that done. Her style is a little more classic rock than Holly’s somewhat punky approach, which suits some songs better than others. But if one or two songs didn’t quite come off, there were many more that she completely owned.

They ended their enthusiastic performance with an encore of the epic “Misunderstood III”. It’s clear that Crimson Sky are back. The smiles of the faces of all the band throughout the gig really said it all.

Posted in Live Reviews, Music | Tagged , , | 7 Comments

Mostly Autumn 2012 Tour Dates

It’s unusual for Mostly Autumn not to tour in May; this year they’ve concentrating their efforts on recording their new album “The Ghost Moon Orchestra” rather than gigging at weekends and recording during the week as they did a couple of years ago. The band had previously announced they’d be touring in September. Now they’ve announced the dates for the second part of the year, in two legs, one in September, the second in December.

  • Sunday 5 August 2012 – Cambridge Rock Festival
  • Saturday 1 September 2012 – O2 Academy Islington, London
  • Sunday 2 September 2012 – Robin 2, Bilston
  • Friday 7 September 2012 – The Sage, Gateshead
  • Saturday 8 September 2012 – The Met, Bury
  • Sunday 9 September 2012 – Cathouse, Glasgow
  • Friday 14 September 2012 – Spirit of 66, Verviers, Belgium
  • Saturday 15 September 2012 – de Boerderij, Zoetermeer, The Netherlands
  • Friday 28 September 2012 – The Wharf, Tavistock
  • Saturday 29 September 2012 – The Gate, Cardiff
  • Sunday 30 September 2012 – Bath Komedia
  • Wednesday 5 December 2012 – The Stables, Milton Keynes
  • Thursday 6 December 2012 – The Grand Opera House, York
  • Friday 7 December 2012 – Arts Centre, Norwich
  • Saturday 8 December 2012 – CRS, Montgomery Hall, Wath
  • Sunday 9 December 2012 – Robin 2, Bilston
  • Monday 10 December 2012 – The Brook, Southampton

A few interesting points. First, the long-announced Cambridge Rock Festival appearance looks like it’s going to be the first live airing of the new material, much like the band débuted much of “Go Well Diamond Heart” at the Progbury festival in 2010. Second, we see the first London headline appearance in more than three years; their last two London shows have been a support slot for Wishbone Ash (They blew them off stage!) and a co-headliner with It Bites (Honours a bit more even on that one).

Finally, the traditional end-of-year York gig is midweek; not sure how that will go down with the fans who traditionally make a weekend in York for that gig. At the moment I have no idea what anyone else in the “scene” has planned for that time; it may be there will be a Stolen Earth or Heather Findlay Band gig scheduled for the Friday. We shall have to see…

Update: Not on the MA website yes, but Holmfirth Picturedrome are advertising an additional show on Friday 31st August. No idea if there are any others still to be confirmed.

Posted in Music, Music News | Tagged | 7 Comments

The Reasoning – And Another Thing

The news of the disappearance of guitarist Owain Roberts, and the huge and ongoing fan campaign to spread the word and help find him has rather overshadowed the fact that the band have a new record out. Indeed, the band sent out the signed pre-order copies just days before he disappeared.

Although the band released a live album “The Bottle of Gettysburg” in 2011, and the album of reworkings of existing songs “Acoustically Speaking” late in 2010, this four track EP is the first release of all-new material since “Adverse Camber” two years ago. It’s also the first studio recording by the slimmed-down five piece version of the band with Owain Roberts as sole guitarist and Rachel Cohen as sole lead vocalist.

The opener “One By One” sets the tone. Beginning with chiming guitar and a vocal melody with an echo of their earlier “Dark Angel”, it combines atmospheric verses with a rockier chorus and a brief instrumental break of interplaying guitar and keys. It’s all over in less than four minutes, but seems to pack an awful lot of music into so short a time. In contrast, “Pale Criminal” is an out-and-out ballad. With another beautiful vocal melody from Rachel Cohen it’s a song that wouldn’t have sounded out of place on Karnataka’s “Delicate Flame of Desire”.

“Apophenia” and “20 Grams” round off the EP in similar vein, mid-tempo numbers combining delicate vocal melodies with restrained instrumental virtuosity from Owain Roberts and keyboardist Tony Turrell. Lyrics cover things like “the experience of seeing meaningful patterns or connections in random or meaningless data” and Duncan MacDougall’s rather strange theories of the weight of the human soul. Not your typical rock’n'roll fare at all.

The whole EP has a softer, more pared-back sound, with shorter songs reining in the prog-metal excesses of their recent past. There’s still plenty of depth in the arrangements, with a few nods to latter-day Marillion and Rush. But now Rachel Cohen’s vocals are given much more space to breathe, no longer in any danger of being swamped by the instrumentation. It’s a case of less being more. Even if none of the four songs quite reach the highest points of the first two albums, the result is nevertheless a more coherent and focussed effort than their last studio album, and it takes a very different musical direction from their early work.

The band are back in the studio now recording a full-length album slated for release in September, which will be the band’s first release under their new record deal Esoteric Antenna. In the meantime, this EP, their last self-released recording under the imprint of Comet Records, is available from the band’s website.

Posted in Music, Record Reviews | Tagged | 2 Comments