Author Archives: Tim Hall

Does Blogging Still Have A Future?

Has blogging had it’s day, or does it still have a place in the world of social networking?

Yesterday was not a typical day for this blog. I posted an opinionated and provocative rant that aimed a broadside at the cynicism of the record industry and the conservatism of some so-called progressive rock fans. It got picked up by a couple of very high-profile people on Facebook and Twitter, and my hit counter went through the roof.

But normally, when I’ve spent hours writing something like a detailed album review, the sort of readership I get is a fraction the number of people who’d read a pithy one-line status update on Facebook. Given my annual hosting bill for this site, sometimes I wonder if it’s an effective use of my time and money any more.

Social networking has already killed off all but the highest traffic web forums just as web forums killed most internet mailing lists before them. Is it now killing blogging as well?

Twitter has certainly killed off link blogging. There is no point maintaining a real-time stream of topical links using a blogging platform any more; Twitter just does that so much better. But for longer opinion pieces?

One thing I’ve noticed is that I’m often getting little in the way of discussion in the comments section, although I often get a lot of intelligent and civilised discussion on my Facebook page when I link to a blog post here. That might be down to my curating of an intelligent and civilised friends list, when I only accept requests from people I know and trust, and am not shy of defriending someone who turns out to be disruptive or offensive on a regular basis. Meanwhile my blog gets a disproportionate number of drive-by trolls like the “You are a moron” guy on my Wishbone Ash review. Maybe my Facebook friends are unwilling to expose their opinions outside Facebook’s walled garden. Maybe they find the drive-by trolls make the atmosphere too unpleasant. I don’t know.

The big weakness of blog comments is a lack of identity management, which is one thing social networks do well. I’ve often heard it said that anonymity is one of the causes of bad behaviour on the internet, and trolls will go away if only you force everyone to use their real names all the time. This is only half right; what’s actually needed is some form of trusted identity, for which your public posts across multiple sites are searchable. On high-traffic sites which allow that sort of thing it’s surprising how few of someone’s posts you need to read before you get quite a good picture of where they’re coming from. You can usually tell if they’re drive-by troublemakers, or people with a passion who occasionally let their enthusiasm get the better of them. Whether you use a real name or not, a strong online reputation does take a lot of effort to built.

I wonder if it’s possible to create some sort of decentralised equivalent of social network built around the RSS feeds of existing blogs with some kind of trusted identity management for commenters? Or is the march of the social networks unstoppable, and blogs need to find a way to exist in the cracks between then?

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Don’t Buy the Pink Floyd Box Sets

I see there’s a shock-and-awe advertising campaign for the reissues of the classic 70s albums by Pink Floyd.

Yes, an album like Dark Side of the Moon is all-time classic which has stood the test of time and has finally emerged from the long shadow cast by of Punk to take its rightful place in the British Rock Canon. But let’s face it, if you really cared about the album, you’d already have it on CD, right?

September has been one of the best months for new progressive rock releases I can remember for a long, long time. In the space of two weeks there have been new releases by Dream Theater, Opeth, Anathema, Matt Stevens, Steve Hackett and Steve Wilson. That’s one hell of a lot of new music, and you can have all of it for the price of just one of the ridiculously overpriced “Immersion editions” that you’ll probably only ever listen to the once.

I realise the target market for these things is the middle-aged bloke who stopped caring about new music when he got married and had kids decades ago, and now in the throes of his mid-life crisis is desperately trying to reconnect with his long lost youth. He’s probably never even heard of Opeth.

Don’t be that guy. Don’t buy the box sets. Pink Floyd really don’t need your money. And EMI certainly don’t deserve it.

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Opeth – Heritage

Sweden’s Opeth have proved themselves one of the most original and creative prog-metal bands of the past decade. On recent albums such as “Ghost Reveries” and “Watershed” Mikael Ã…kerfeldt and his band balanced moments of delicate beauty with moments of brutal heaviness, and it was the way they seamlessly combined the two that was a big part of the appeal.

With their tenth album they could have taken the easy option of trying to repeat a successful formula. But instead they’ve taken an abrupt turn, and done something completely different.

Gone are the death-metal growls. While it still has it’s heavier moments it’s can’t really be described as a metal album. The whole thing has a warm, retro 70s vibe, with echoes of artists as diverse as King Crimson, Frank Zappa and Uriah Heep. There is still much here that wouldn’t have sounded out of place in the quieter moments of the last couple of albums, and they still eschew traditional song structures in favour of complex epics with constantly shifting moods. Mikael Ã…kerfeldt again shows how good a vocalist he can be when he sings in a ‘clean’ style, and he’s got a keen ear for unorthodox but beautiful melodies.

Even with death-metal stripped out, it’s an enormously varied album. It begins with a very simple unaccompanied classical piano piece, a gentle lead-in for the delights to come. The hard rock of “Slither” with it’s barrelling rhythm comes over as a very deliberate homage to Deep Purple, with a riff and solo that’s pure Ritchie Blackmore. Then there’s the strongly jazz-tinged “Nepenthe” and “Hāxprocess”. An undoubted highlight is the penultimate track “Folklore” with a dramatic closing section which has to be one of the most exciting pieces of music I’ve heard all year. It ends, as it began, with an instrumental. The semi-acoustic “Marrow of the Earth” starts out sounding like a Blackmore’s Night piece, but builds to assume a melancholic grandeur beyond the scope of anything that band have done.

While this is likely to disappoint some out-and-out metal fans, this is still a very impressive release, and a strong candidate for progressive rock release of the year. There is endless debate in prog circles as to whether the term should refer to bands who try to capture the actual sound of classic 70s progressive rock, or for bands who evoke the same spirit of adventure of music without boundaries. Opeth are a rare band that fulfil both of these, sounding both unapologetically nostalgic and absolutely contemporary at the same time. Almost nobody else can pull that off as well as Opeth can.

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Anathema – Falling Deeper

Anathema are a band whose music has changed a lot over the years. They started out playing doom metal, but later evolved towards avant garde progressive rock with strong influences of Pink Floyd and Radiohead. Very little trace of metal remains in their most recent albums.

“Falling Deeper” isn’t an album of new songs, but orchestral reinterpretations of their back catalogue, much of it from their very early metal years. It’s an ambitious project. The songs are completely reworked, stripped down and rebuilt so that only the basic chords and melodies remain.

This is really an album where you sit back and let it all wash over you. Although songs like “Everwake” feature the ethereal vocals of Anneke von Geirsbergen, much of the album is instrumental, with piano or strings taking the original vocal line. The result is an album of atmospheric soundscapes drenched in melancholy. With the repeated piano figures, e-bowed guitar and washes of strings it’s far removed from the doom metal of the original recordings. In places I can hear echoes of Sigur Ros and even Godspeed You Black Emperor. The magnificent “Sunset of Age”, which closes the album, is a case in point. Female vocals replace the original death metal growls, strings replace the grinding metal riff, and one of the most amazing moments is when the orchestra takes up the spiralling solo. Epic is an overused word, but it’s entirely appropriate for that song.

Pretty much at the opposing end of the progressive rock spectrum from the technical virtuosity of someone like Dream Theater, Anathema have delivered one of the surprises of the year. Even if the none of the songs are new, the new versions are so dramatically different it’s as good as an album of completely new material.

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Dream Theater – A Dramatic Turn Of Events

Dream Theater’s first album without founder member Mike Portnoy has been one of the most eagerly awaited releases of 2011. Following his somewhat acrimonious departure from the band many fans loudly declared that the band were finished without their charismatic drummer. But others, including myself, had felt the band had been coasting for the last few albums, and wondered if the enforced lineup change might be just be the thing the band needed to shake them up and make them hungry again.

I wasn’t sure about this album for quite a few spins. At first it felt like just another recent Dream Theater album, good but not especially outstanding. All the trademark sounds of the bands that defined prog-metal as a genre are there; machine-gun riffs, tricky time signatures, neo-classical piano fills, and of course all those solos. But on repeated listens the songs started coming alive and lodging in the brain. This is definitely an album that a bit of time before it hits home, but when it does, it hits hard.

There’s a noticeably stronger sense of melody than on recent albums, whether it’s the anthemic stadium-rock chorus of “Build Me Up, Break Me Down”, the gentle opening section of “This Is The Life”, or the piano-led ballad of “Far From Heaven”. James LaBrie, sometimes the weak link in the band, sings far more than he screeches, especially during the less heavy moments.

Naturally, being a Dream Theater album, there are still plenty of opportunities to showcase the band members’ virtuosity in some serious instrumental wig-outs. But this time the technically superb musicianship doesn’t completely overwhelm the songwriting. Petricci shines in particular, and his solo on “Breaking All Illusions” is one of the high spots of them album.

So, while this album isn’t quite a career-defining masterpiece, it is a significant improvement on the last couple of albums; “Breaking All Illusions” and “This Is The Life” have all the makings of Dream Theater classics, and there’s relatively little in the way of filler. As the first album with new drummer Mike Mangini the band have something to prove, and it shows.

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Facebook’s New Look – A Tester’s Perspective

If you’re on any social network you’ll know that Facebook rolled out some major changes to their system over the last couple of days. To say it’s gone down like a lead balloon would be an understatement, Facebook users have always been a bit small-c conservative, and don’t like change. But the rage I’m seeing this time round is a lot more intense.

Having a background in software testing gives me some insight into how and why they’ve annoyed so many people so badly this time.

What appears to have happened is they’ve lauched some potentially powerful new features without really bothering to explain to anyone how they work or how they should be used.. Smart Lists are a good example; They’re similar to the circles in Google+, and almost certainly implemented as a response to that. But again, they haven’t made the implications of adding people to certain types of list clear. This probably explains why we’ve seen more than one rock band adding all their fans as employees. Once could be a mistake, twice looks like careless UI design.

As we’ve come to expect from Facebook by now, they’ve set the defaults for most things to values that aren’t the ones you’d have chosen. And it goes without saying that every new data-sharing is opt-out with the relevent option hidden in a rusty filing cabinet marked “Beware of the leopard”. Likewise, I don’t think they’ve bothered to test it properly before they rolled the changes out. Although in this case it’s not so much that the actual software is buggy, but the the design is not as intuitive to ordinary people as their designers seem to think it is.

Facebook’s problem is that a large proportion of its user base isn’t made up of tech-savvy computer nerds, but people like your mum. They’re not the least bit interested in performing unpaid exploratory testing of new and occasionally half-baked software products. They just want to share pictures of grandchildren.

Posted in Social Media, Testing & Software | Tagged | 2 Comments

Heather Findlay’s November Tour

Announcement today from Heather Findlay

The Heather Findlay Band are excited to announce our debut headline tour will take place this November!!!

At just 5 carefully selected UK shows with an elite band formed from the upper echelon of the rock world; Dave Kilminster (Roger Waters, Keith Emerson, John Wetton), Chris Johnson (Halo Blind, Fish, Mostly Autumn ), Steve Vantsis (Fish, KT Tunstall, Horse) and Alex Cromarty (who has worked with the likes of Steely Dan, Groove Armada and Dodgy) will be hitting the road to perform a specially crafted set featuring songs both old and new!

The material we have chosen to perform will span my work with both Mostly Autumn and Odin Dragonfly, presenting revitalised versions of near forgotten gems and will of course feature my debut record The Phoenix Suite!!!

We are also delighted to tell you that awesome band Shadow of The Sun will be joining us each night as very our special guests!!!

17th Nov – The Brook, Southampton;
18th Nov – Fibbers, York;
19th Nov – The Classic grand, Glasgow;
26th Nov – The Borderline, London;
27th Nov – The Robin, Bilston, Wolverhampton.

For tickets and all information please visit: www.heatherfindlay.net

Tickets for the tour have been on sale for a while, and I’d recommend you order tickets early for the York and London shows – both are in smallish venues and could well sell out.

Shadow of The Sun is an unexpected but very appropriate choice as support. Formed by Dylan Thompson, formerly of The Reasoning, their hard-edged guitar-based sound isn’t a million miles removed from the musical direction of Heather’s The Phoenix Suite.

If The Heather Findlay band are anything like as good live as they were at The Cambridge Rock Festival, this should be a great little tour.

See you there!

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Stolen Earth, Post Office Social Club, York

Paul and Heidi of Stolen Earth at The Post Office Social Club, York

Stolen Earth’s official launch gig took place on September 17th, in the Post Office Social club in York, the same venue as the launch gig for Breathing Space’s album “Coming Up For Air”, which seems half a lifetime away now. As a showcase gig, it attracted a sizeable audience, with a lot of dedicated fans travelling far and wide. Nice to see Bryan and Livvy from Mostly Autumn in the crowd.

Paul Teasdale of Stolen Earth at The Post Office Social Club, York

While the band had formed from the ashes of Breathing Space, almost all the material was new. Much of the set had been premièred at the Cambridge Rock Festival back in August, and I certainly remembered songs such as “Mirror Mirror” and the anthemic “Perfect Wave” from that performance. To fill out a headline-length show they included a couple of covers, an excellent take of The Eagles’ “Hotel California” which got some of the audience up an dancing, and Pink Floyd’s “Wish You Were Here” with Paul Teasdale on 12-string. They encored with Paul’s “Clear”, the only song recorded by Breathing Space to remain in the set.

Adam Dawson of Stolen Earth at The Post Office Social Club, York

Unfortunately the sound mix left a bit to be desired, with John Sykes’ keys too low in the mix and some of the Adam’s vocals a bit muffled. That combined with monitor problems meant the set didn’t quite have the power and energy of their triumphal Cambridge set. Not that it was a bad gig by any means, and I’ve heard far, far worse mixes at Breathing Space gigs over the years, but it does show that for their sort of atmospheric multi-layered rock the soundman is just as important as anyone on stage.

Heidi Widdop of Stolen Earth at The Post Office Social Club, York

But despite those sound problems, Stolen Earth do seem have got off to a good start. They’ve got a powerful set of songs, and while there are strong echoes of Breathing Space in their sound, Heidi’s soulful voice and Adam’s very Floydy guitar gives them a distinctive musical identity of their own. I’m very much looking forward to seeing how their music develops, and hope they record an album sooner rather than later.

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Panic Room, The Borderline, 18th Sep 2011

Panic Room are part-way through an extensive tour covering the length and breadth of the country, and on Sunday their tour came to London, in the famous and prestigious Borderline in the heart of the West End. For a Sunday night they certainly managed to attract a decent-sized crowd, with a good turnout of the regular faces from prog gigs at The Borderline and The Peel.

The evening started with a very short set from acoustic singer-songwriter Sarah Dixon. I tend to find acoustic acts a bit hit and miss, without the backing of a full band the vocals and songs need to be really good to make an impression. Sarah Dixon certainly had the voice. Second support was trio David R Black, who have supported Panic Room many times, but still don’t do an awful lot for me. On the plus side they were tight and played with a lot of energy, but their brand of indie-rock did feel rather one-dimensional. I can’t help feeling they really need a proper lead guitarist to add some dynamics to their sound.

With two supports and a strict curfew Panic Room played a shorter set than at some other dates on the tour. This meant the band could really go full tilt without having to pace themselves, but also meant there was no room for songs like the entertaining “I Am A Cat”.

The two new songs, “Song for Tomorrow” and “Promises” are fast becoming crowd favourites and show all the diverse musical influences of the five band members; the instrumental break in the latter is a duet between Gavin Griffith’s drumming and some very funky bass playing from Yatim Halimi. I love the imaginative reworking of “Exodus”, a song that originally appeared on Anne-Marie Helder’s solo EP “The Contact”. Originally a very simple piano and vocal ballad, it worked well enough in that form. The full band version with a great solo from Paul enhances the song without ever threatening to swamp things with too many layers of instrumentation. Like all of Panic Room’s music it’s the perfect marriage of superb songwriting and expert musicians who know as much about what not to play as what to play.

The set ended with really powerful versions of “Dark Star”, “Satellite” and the encore “Sandstorms”. On form like this Panic Room really deserve to break through to a far bigger audience. If you get the chance to see any of the remaining dates on this tour, go and see them, you really won’t regret it.

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Shadow of the Sun

Shadow of the Sun now have an official website.

Shadow of the Sun is the new project formed by Dylan Thompson, formerly guitarist and vocalist from Reasoning. and singer/guitarist Matthew Alexander Powell.  The rhythm section of Rhys Jones and Lee Woodmass complete the four-piece lineup.

They’ve put a few demos on their website. Although there are a few echoes of Dylan Thompson’s songwriting for The Reasoning in places, the overall sound is a lot different, far rawer and almost punky in places. Follow the link and listen for yourself!

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