Author Archives: Tim Hall

Touchstone’s FInal Show

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The flyer for the final show at Leamington Spa on November 21st with special guests Magenta and support from John Mitchell’s Lonely Robot. Be there.

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This Month’s Metal Roundup

A roundup of some recent metal releases that there hasn’t been time to review in full. We have both kinds of music here, heavy and metal.

Ecnephias

Ecnephias coverItalian occult metallers Ecnephias are a band with one foot in the metal camp and one foot in the gothic rock camp. Their self-titled album has echoes of The Sisters of Mercy as well as more metal sounds, the overall effect recalling mid-period Paradise Lost. Instrumentally it’s a great record, with strong dynamics, plenty of light and shade, and some impressively fluid guitar work. But it’s the vocals that let it down. They’re not good at judging when to use death-style growls and when to use clean vocals, frequently using growls on the parts which aren’t especially heavy, which doesn’t quite work. You’re left with a feeling that this would have been a stronger record had they used clean vocals more extensively. Still, when it all comes together, it can be excellent, as evidenced by the spiralling gothic “Nyctophilia” and “Vipra Negra” towards the end of the album.

Secrets of the Sky – Pathway

Secrets of the Sky - PathwayCalifornia’s Secrets of the Sky brew up a monstrous wall of sound with the album “Pathway”. The eleven-track album contains six actual songs interspersed with brief snippets of sound effects that go from crashing waves and thunderstorms to ominous footsteps. With no choruses or solos the songs instead take the form of dense soundscapes of layered guitars, doom-laden drums and washes of keys. Unlike Ecnephias they get the vocals dead right, evil-sounding growls for the heavy parts and clean vocals for the reflective, atmospheric moments. The end result is an intense and in places very heavy record where even the lighter parts can sound truly menacing.

Crest of Darkness – Evil Messiah

Crest Of Darkness coverNorwegian black metallers Crest of Darkness pull absolutely no punches on this four track EP, consisting of three originals plus one cover. The three original numbers, “Evil Messiah”, “Armageddon” and “Abandoned by God” are all piledrivingly heavy; in-your-face screamed vocals married to monstrous old-school metal guitars, often more than one great riff in one song, and the cover of Alice Cooper’s “Sick Things” is splendidly demented.

Nekrogoblikon – Heavy Meta

Nekrogoblikon-HeavyMeta-AlbumArtWe’ve had Viking Metal and Pirate Metal, now Goblin Metal is a thing. With song titles like “Snax & Violence”, “We Need A Gimmick” and “Full Body Xplosion” and a guest appearance from Andrew WK this is a band who don’t take themselves too seriously. Although vocalist Scorpion’s goblin-style vocals do wear a bit thin after a while, the varied, inventive and sometimes off-the wall instrumentation suggests they’re something more than a one-joke band, and they clearly sound as though their having great fun.

Angra – Secret Garden

0210096EMU_Angra_Secret-Garden_Cover_600x600And finally, something for those who can’t abide contemporary cookie monsters and insist on proper singing. veteran Brazilian power-metallers are back with an album filled with galloping hard rockers and epic power ballads, with big riffs, soaring melodies, jaw-dropping guitar soloing and occasional prog atmospherics. Former Rhapsody of Fire frontman Fabio Lione is on fine form on vocals, and the album also features guest appearances from Doro Pesch and Epica’s Simone Simons. It’s all very old-school, but very well done, with a polished production and enough solid songwriting that there’s no room for any filler.

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Where are the women of rock?

Cloud Atlas album launch at Tokyos in YorkHaidi Widdop and Martin Ledger of Cloud Atlas

Regular readers of this blog ought to know the answer, but that is still the question John Harris asks in The Guardian, in a piece on the male-dominated nature of mainstream rock, which turns into a paeon of praise for Fleetwood Mac as the only band headlining a major festival this year that isn’t all-male.

After 17 years as an on-off quartet, Fleetwood Mac have assembled all five members of their most successful line-up and come back to remind us that they are by far the most successful mixed-gender rock band in history, though surprisingly few people have ever thought to follow their example.

The fact that their internal romantic entanglements made their most successful period such an emotional hell might serve as a cautionary tale. Then again, the incredible, fantastically honest music that came out of it all speaks for itself. Rock and pop tend to scrape perfection when they deal with love and relationships; in Fleetwood Mac’s greatest work, you hear those subjects explored with such power precisely because both male and female views are on show.

Which is just as true for some of the best work of bands like Mostly Autumn and Karnataka in their various incarnations. Albums such as “Delicate Flame of Desire” and “The Last Bright Light” are not filled with songs about Hobbits.

Harris’ comments about the male-dominated mainstream festival scene makes a stark contast to the grassroots progressive rock scene that this blog gives extensive coverage to. Looking at the bill of this March’s HRH Prog, which featured Knifeworld, The Skys, Touchstone, Anne Phoebe, Mostly Autumn, Collibus, Jump, Magenta and Steeleye Span, half the bands contained at least one female member. Not only that , they were overwhelmingly the better half of the bill too.

What’s notable about the way progressive rock has become more female-friendly in recent years is that it’s all happened organically. Bands have formed with women in them, and they’ve built up audiences. They’ve become such an accepted part of the scene that anything that looks overwhelmingly male is regarded with suspicion.

We have seen no aggressive campaigns to stop people listening to all-male bands as if it’s all a zero-sum game. Likewise there have been no Gamergate-style backlash complaining that wimmin are ruining prog. You might get the occasional grumpy old git moaning about too many female-fronted bands on a given festival bill, but nobody pays such misanthropes much attention.

Perhaps this is what happens when you have a scene driven by shared love of music rather than by corporate bean-counters and demographics-driven focus groups.

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Shocked to find Genesis aren’t awful after all

Selling England by the PoundThis is comedy gold. A punk-era NME-style music journalist straight out of Central Casting writes about Genesis’ “Selling England By The Pount”.

He starts out dismissing their music using as many tired clichés as a bad Pendragon album.

And Prog Enemy Number 1, chief target for my scorn, were Genesis. Bloody Genesis. At least Pink Floyd had the saving grace of Syd Barrett who seemed pretty cool until he had to take a load of drugs to cope with being surrounded by the rest of Pink Floyd. But Genesis? Hackett, Gabriel, Collins, Rutherford and Banks? Just look at them. Not a saving grace in sight.

Before admitting tthat he’s ever actually listened to them. So he goes and plays the record…

And you know what? It’s not awful, some of it is actually really good and a lot of it, even though Banks tries his best to spoil everything, is genuinely brilliant. It’s sort of Merrie English folk mixed with a Lloyd Webber Musical which I know you think is a genre that you don’t think you need in your life but it is. It honestly is. Look at the end for the mark I give it out of 10 if you don’t believe me.

So this is where I am. I really like an early Genesis album, I really like Selling England by the Pound.

All of which rather reinforces my suspicion that a whole generation of music writers have been dismissing an entire genre of music based purely on other people’s second-hand opinions, and haven’t actually listened to any of the actual music.

I’m reminded of tthe time when The Guardian’s Alexis Petridis reviewed a Genesis box set and was amazed to find it was full of tunes.

If you are a grown adult, and you don’t question every single cultural prejudice you held when you were 17, you not only risk being a fool, but you will also miss out on much great stuff.

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Knifeworld, Boston Music Rooms

Knifeworld

Though they headlined the Prog Magazine sponsored “Stabbing A Dead Horse” tour in 2012 and have appeared on the bill of several progressive rock festivals including Summers End and most recently HRH Prog, Knifeworld are not exactly an old-school prog band. They have feet in other camps. Certainly the healthy-sized crowd in the small north London venue was rather younger and more fashionable than a typical middle-aged prog audience, though were still quite a few of the London prog regulars present.

The first of two supports were Barrington, a power trio based around angular riffs with strong echoes of 80s King Crimson, and some very muscular drumming. So much so that stage by the kit was covered in feathers; unless there had been a fight between a pigeon and a cat which had ended badly for the pigeon, he’d burst the pillow inside the bass drum. The band did have one or two interesting ideas but ultimately came over very one-dimensional, and had little in the way of stage presence.

The second support, Cesaraians were an awful lot more entertaining, a bonkers six-piece with a keyboard-heavy sound, trumpet and violin replacing guitar, and a compelling frontman who understood stagecraft in a way most bands don’t. Their music defies easy genre classification; there were elements of 80s new-wave plus an occasional blues flourish, and an awful lot of rock’n'roll attitude. Not many support bands are this good, and it was good to see Kavus Torabi himself in the front row for a good part of the set.

Knifeworld at Boston Music Roomx

Knifeworld were a sax player short (I was told this was purely a temporary absence), but the temporary reduction to a seven piece did little to diminish their sound. Armed with his distinctive gold and white Gresch guitar, Kavus Torabi led his band through a spellbinding set of psychedelic grooves, Zappa-style horn arrangements, intertwining guitar and bassoon lines, and layered vocal harmonies. One of Kavus’ solos emphasised the Zappa vibe, very evocative of the great man himself.

The setlist drew heavily from their latest and best album, 2014′s “The Unravelling” along with highlights from their earlier discs and some new as yet unrecorded material. Even when a man short the intricacies of the records come over strongly live. The whole set flowed as a seamless whole, making it hard to single out highlights, though the encore of “Me To The Future of You” was particularly mesmerising with Melanie Wood and Chloe Herrington’s harmonies at the end.

It was all very heady stuff; regardless of how you try to classify them genre-wise there is nobody else quite like Knifeworld. They proved yet again that they really are quite a remarkable live band.

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Mark Kozelek, Bellend

From The Guardian, “I interviewed Mark Kozelek – He called me a ‘bitch’ on stage”

Last Monday (1 June), Sun Kil Moon played at the Barbican in London. During the encore, Kozelek introduced a snippet of a new song he had apparently been writing. I wasn’t there, but a friend/colleague was, and phoned me after the gig. I’ve since heard the audio and it made me feel sick. “There’s this girl named Laura Snapes, she’s a journalist. She’s out to do a story on me, has been contacting a lot of people that know me,” he told the sold-out, 1,900-capacity room. Then he started repeating the line: “Laura Snapes totally wants to fuck me / get in line, bitch … Laura Snapes totally wants to have my babies.” The audience clapped and cheered

Too many people buy into the mythology that being an asshole is a fundamental component of genius. The reality is it’s more a case of genius letting them avoid the negative conseqences of being an asshole. We should stop them getting away with it.

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Lonely Robot to play Touchstone farewell shows

John Mitchell at the Lonely Robot launch partyTouchstone have announced that John Mitchell’s Lonely Robot will be the support act for their London farewell show at Boston Music Rooms in London on November 20th, and at Leamington Spa Assembly on November 21st, the latter of which also sees Magenta as special guests.

John Mitchell will be performing a stripped-down semi-acoustic set with keyboard player Liam Holmes, seen above at the Lonely Robot launch party earlier this year.

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If “Farage” is the name given to the liquid you find at the bottom of the bin, then “Sepp Blatter” is a medical condition caused by eating too much of the wrong kind of rhubarb.

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Into The Sausage Factory

A couple of Tweets from my editor at Trebuchet Magazine set off a discussion:

Anybody who actually follows any grassroots music knows most “appears out of nowhere” narratives are bogus, and any million-selling act who wears “authenticity” on their sleeve is probably not as genuine as they seem. Nobody becomes famous overnight without serious PR money behind them. But what makes the hype industry pick one busker-level talent over 1001 others? Is it purely random who gets the hype?

It can be depressing when you see talented musicians slogging away for years and never getting beyond a devoted cult following, while Ed bloody Sheeran ends up headlining Wembley Stadium.

But mainstream music is really more part of the celebrity industry than anything else. Sometimes the actual music is an afterthought; Look how Mumford & Sons threw away their entire identity and invented a new one when audiences had become bored with it, or how chancers like Brother kept trying to reinvent themselves by jumping on different bandwagons.

I can understand why so many real musicians making real music don’t want to be part of that circus.

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Progzilla and their Problematic List

Heather Findlay of Mostly Autumn at The Met Theatre in Bury, June 2007

Progzilla Radio have done a countdown of the Top 100 Modern Prog Classics.

Unfortunately, the list is, as the saying goes “problematic”.

While all lists of this nature are subjective and shouldn’t be taken too seriously, this one is especially bad. The way the same half-dozen bands appear multiple times suggests that the voters’ listening isn’t terribly broad; have Transatlantic really done that many classic songs?

Far worse is the near absence of women on this list. The sole song with a female songwriter and lead singer is Mostly Autumn’s “Shrinking Violet”. There is no mention of Magenta. Or Panic Room. Or any incarnation of Karnataka. There isn’t even room for anything from Kate Bush’ magnificent “Aerial”. And don’t say “Kate Bush isn’t proper prog” when the list has Radiohead on it.

When the competent but unremarkable Lifesigns, who have just one album to their name, can manage no fewer than three songs in a list that has no room for Magenta, Karnataka, Panic Room or Kate Bush, it’s hard not to conclude the list has very a bad case of sexism.

It’s true that progressive rock is still predominately male. But it’s not exclusively a boy’s club, especially in recent years. Look at the pages of Prog magazine, or the festival bills of events like HRH Prog or the Cambridge Rock Festival and you’ll see a significant proportion of bands with at least one woman in the band.

Therefore I have to conclude that a list of “greatest modern progressive songs” that’s 98% all-male bands is in fact a load of sexist bollocks.

(edit – Changed “compilers” to “voters” to make it clear it’s a listener’s list)

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