Author Archives: Tim Hall

Routine

Jess Cope’s heartbreaking animation for Steven Wilson’s “Routine”, a song covering themes of loss and denial, that was projected onto a screen behind the band during this year’s live shows.

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Neo-Prog Three Decades On

Joe Banks writing in The Quietus has a grear piece in Neo-Prog Three Decades On, covering the likes of IQ, Pendragon and Pallas.

He’s spot on when it comes to Twelfth Night. His description of “Fact and Fiction” as the Unnown Pleasures of prog reminds me of how some aspects of their sound reminded me of Joy Division at the time. Perhaps what JD might have sounded with Dave Gilmour style guitar solos?  As for their eventual disolution when they “couldn’t make up their mind whether they wanted to be Pink Floyd or Duran Duran“, is Joe Banks certain he didn’t steal that line from me?

He’s good on Mairllion too, pointing out how they started out wearing the influence of Gabriel-era Genesis on their sleeves, but soon evolved towards evoking Pink Floyd at their most song-orientated. Not quite so sure about present-day Mairllion as “credible-if-a-bit-bland nu-prog, somewhere between Talk Talk and Muse“, though. At least he didn’t compare them to Coldplay….

It’s also good to see the late Tommy Vance mentioned. John Peel’s hagiographers tend to dismiss him for playing the music too uncool for The Peel Show, but the two were actually highly complementary. Certainly Tommy Vance was as much loved by his listeners as Peel was to his.

The whole piece is well worth a read.

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Support Bands: What exactly are they for?

Fahran, Supporting Morpheus Rising at Bilston Robin 2Fahran, suppotying Morpheus Rising at Bilston Robin 2

This is another of those blog posts inspired by some discussion on Twitter, in this case about support bands.

We’ve all been to gigs where the support band has been thoroughly forgettable; sometimes tuneless acoustic singer-songwriters, sometimes third rate generic metal or alternative rock bands. You do sometimes wonder what the point of these support slots are, especially if there’s not one but two supports which either means a disappointingly short headline set or a very late finish.

On the other hand, I’m sure most of us have seen a few occasions where an unknown support act has blown us away. I can think of The Computers supporting The Damned and giving them a serious run for their money, and Labyrinth kicking Sonata Arctica’s arse, both at my local venue in Reading. The very first time I saw the mighty Touchstone was when they supported The Reasoning at the now-closed Limelight Club in Crewe. And I’ll never forget Anne-Marie Helder supporting Mostly Autumn at the late lamented Astoria.

My rule when reviewing is to judge the support act on how you feel at the exact moment the frontperson says “And this is our last song”. That emotion never lies.

So what, exactly, is the purpose of the support band?

If, as was suggested, the sole purpose of the support is to make the headliner look good, I would respond by questioning whether the headliner is good enough to be topping the bill. The days of support bands being thrown off tours for being too good are long gone.

I see the role of the support act as enhancing the overall experience and giving the paying audience better value for money. If they’re a bit rubbish it rather undermines that. The 70s and 80s practice of the headliner actively sabotaging the support for reasons of ego by making sure they had terrible sound only shortchanges the punters.

Nowadays quite a few bands book a strong and complimentary support act and give them prominent billing in the gig’s promotion to boost ticket sales. Just how often have you gone to a gig purely to see the support, or at least had the support influence your decision to attend a gig? I could list a great many of those over the years; sometimes I’ve experience a wonderful headline set I would not otherwise have seen, and once or twice I’ve seen the band I’d actually come to see blow the headliners off stage.

So, what’s your experience of support acts? Who was memorably good, or memorably bad? What great bands did you first see as an opening act?

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Vanden Plas – Chronicles Of The Immortals: Netherworld II

Vanden Plas You do wonder if their name might have held Germany’s Vanden Plas back. Back in the 1970s and 80s it was British Leyland’s badge for the top-end models of their memorably terrible cars from the worst days of the British motor industry. It’s like calling a band “Skoda” or “Edsel”.

Their eighth studio album “Chronicles Of The Immortals: Netherworld II”, is as the title suggests, the second part of a saga, the first half of which came out in 2014. It’s an epic involving dark godmakers and cursed blades based on the fantasy series of the same name by author Wolfgang Hohlbein.

The music fits the theme, a cinematic record combining the big choruses and showboating solos of power-metal with the ambitious song structures of progressive metal and the epic production and pomp of symphonic metal, with a bit of musical theatre thrown in for good measure. There are big soaring power-ballads, hard-rocking guitar and keyboard solo wig-outs and sprawling epics where razor-sharp riffs alternate with tinkling piano interludes. The songwriting and arrangements sound like a band who have been perfecting their craft for a long time, and the whole thing has a big rich wall of sound production. Vanden Plas don’t do anything in half-measures, finishing in gloriously over-the-top style with the choir and orchestra of “Circle of the Devil”.

This is an album that may be too bombastic and overblown for those who prefer more straightforward rock’n'roll; and sometimes the effect can be similar to an over-rich dessert when there’s only so much you can eat at once. But Vanden Plas do what they do extremely well, and fans of anyone from Threshold to Ayreon ought to find a lot to like about this record.

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Less than three weeks until Mostly Autumn play the Grand Opera House in York. If you’re travelling to the city, why not make a weekend of it and see Cloud Atlas at The Post Office Social Club the following night. Tickets from the Cloud Atlas Webstore.

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Seamas Milne and the hard-left bubble

Seamas MilneI’m no Labour supporter but I was willing to give Jeremy Corbyn a chance to revitalise the British left and shake up the establishment consensus. I’d hoped he’s galvanise a broad-based movement rather than retreat into sectarian zealotry. Unfortunately his appointment of Seamas Milne to the powerful post of communications director does not bode well.

Milne gives every impression he’s an unreconstructed and unrepentant Stalinist who sometimes seemed as though he was only employed as a columnist for The Guardian to make some of their other leftist writers look like voices of reason by comparison. He’s close to a caricature of the worst kind of public-school leftist, the product of an expensive private school and Oxbridge education that’s filled his head with Marxist theory, undiluted with much contact with ordinary working people.

It’s as if David Cameron had appointed the notorious Daily Telegraph columnist James Delingpole to the equivalent post for the Conservatives. Except worse; Delingpole is a noxious button-pushing rightwing troll, while Milne is a staring-eyed True Believer. Milne’s acolytes are meeping about “smears”, except that most of those so-called smears are links to his Guardian op-eds, which let people read, in context, what he said about everything from the fall of the Berlin Wall to the murder of Lee Rigby. And none of it is pretty.

Searching for “Seamas Milne” on Twitter and the overwhelming message is dismay from across the centre-left. This hard-hitting piece from Labour PPC Kate Godrey sums up that dismay rather well. As for Milne’s cheerleaders, a blog called The Canary thinks Jeremy Corbyn’s choice of Comms Chief should delight his supporters and terrify his enemies which actually speaks volumes about the delusional bubble inhabited by much of the hard left. It’s difficult to imagine that bubble surviving contact with electoral reality on the doorsteps next May.

Liberal Democrat blogger Stephen Tall nails it rather well.

Of more interest to the Labour party is whether he will be any good at the job. Key question: will he be able to see issues clear-sightedly from his opponents’ point of view? “Never neglect to think like a Tory,” advises John McTernan, Tony Blair’s former Director of Political Operations – a job title which guarantees his words will be dismissed by Corbynistas, whose only true experience of fighting and winning elections is against their own side.

The truth they’re unable to accept is that a hard-left Labour Party has little chance of being elected unless Britain suffers a Greece-style economic meltdown. And if you’re really hoping for a Greek-style meltdown so you can benefit from it politically, then you’ve not the sort of person anyone should trust with political power.

And this is before we start on how the whole controversy is distracting attention away from the really nasty stuff the Tories are doing.

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Caligula’s Horse – Bloom

Caligulas Horse - BloomAustralian five-piece Caligula’s Horse take their name from a notorious episode in ancient Roman history when one of the most notorious early emperors made his favourite horse, Incitatus, a Senator. Incitatus means “at full gallop”, which is a good name for a band who play state-of-the art twin-guitar progressive metal, with serpentine riffs, memorable vocal melodies and some spectacular soloing.

It begins deceptively quietly with gently acoustic guitar, folk-flavoured vocals, and a delicate blues-flavoured guitar break before exploding into metal half-way through the opening number. Their use of dynamics recalls mid-period Opeth, especially on early highlight “Marigold” with its loud-quiet-loud structure, though they eschew the death metal growls in favour of clean vocals throughout. The highly melodic and atmospheric “Firelight” recalls Riverside, while the guitar-shredding epics “Dragonfly” and “Daughter of the Mountain” blending elements of metal and jazz with soaring vocal harmonies recall the modern sounds of Haken or Maschine.

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Rob Cottingham to leave Touchstone

Touchstone at the 2012 Cambridge Rock Festival

Touchstone have announced that the two farewell shows for Kim Seviour in November will also be Rob Cottingham’s final gigs with the band. As quoted in Prog:

“It’s been a privilege to see the band grow from the very early days when I kicked the band off with a totally different line up in a small village hall.

“After recent discussions, however, the time is clearly right for me to bow out gracefully at the same time as Kim. I want to thank my bandmates old and new for everything, and wish them every success in their exploits going forward”.

The band had previously announced that they’d be going on indefinite hiatus while various members worked on individual projects, but this announcement implies that the three remaining members intend to continue to work together under the Touchstone name. It’s a case of “watch this space”.

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The Wootton Bassett near-miss

Battle of Britain Pacifit "Tangmere"(Wikimedia Commons)

The official report into the near-miss at Wootton Bassett (pdf) makes interesting reading, and demonstrates what I’ve often said about rail and air accident reports making useful reading for software testers.

In this case there were no injuries or indeed any damage to the train, although it could have been a very major accident; a collision at high speed with one train formed of 1950s-design rolling stock that doesn’t have the crashworthiness of modern trains.

The immediate cause of the incident was blatant disregard of rules and procedures which rightly raised questions about the levels of training and safety culture, so it wasn’t really a surprise that the operator’s licence was suspended.

Aside from the chain of events that led to the train overrunning a red signal, what makes it a worthwhile read is the details of how modern automated safety systems interface with literal steam-age techology in the shape of a 70-year old steam locomotive. It also highlights some user interface issues with the controls within the locomotive cab.

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Bauda – Sporelights

Bauda - Sporelights Bauda started out as a project from guitarist and songwriter César Márquez which then slowly evolved into a full band. The music is inspired and informed by the landscapes of their native Chile, and the album “Sporelights” revolves around “the perpetual struggles of men against the enslaving nature of modern societies”.

The opening instrumental combines swirling electronics with a rhythm section that emphasises the drums as a lead instrument. It flows straight into the 7-minute “Vigil” which sets the tone for the rest of the album; dense, layered, and cinematic with shimmering effects-laden post-rock guitars, alternately rocking out and giving way to atmospheric reflective passages.

What lets this album down is the thin and sometimes tuneless vocals which don’t always complement the beauty of the instrumentation, and occasionally veers towards rather pedestrian indie-rock, though it always comes back to life with the next instrumental passage. It probably doesn’t help that the best vocal, on the closing track “Dawn of Ages” sounds just a little too close to Knifeworld’s “Me to the Future of You” for its own good.

It does leave you with the impression that with stronger vocals Bauda could reach far greater heights. Not for nothing is the swirling Hawkwind-like instrumental “Tectonic Cells” the highlight of the album.

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