Author Archives: Tim Hall

Panic Room, The Fleece & Firkin, Bristol

Anne-Marie Helder of Panic Room at The Fleece

Panic Room’s “Wildfire” tour was eagerly anticipated. Although all the individual band members have been active lately, Anne-Marie Helder and Jon Edwards playing as Luna Rossa, Yatim Halimi playing bass for The Steve Rothery Band, and drummer Gavin Griffiths touring with Fish, it’s almost a year since Panic Room’s last live appearances together. It’s also the first chance to see them with new guitarist, Dave Foster, on loan from Mr So and So for the rest of the year.

The tour follows an interesting format, with the band performing a short set from their soon to be released crowdfunded acoustic album, followed by a headline-length electric set, in effect acting as their own support band. For a “school night” they attracted a fair-sized crowd at Bristol’s Fleece and Firkin for the fourth night of the tour.

The acoustic set was semi-acoustic in parts, with Dave Foster adding some bluesy electric guitar on a few songs, and Gavin Griffiths returning to his kit after playing the first couple of numbers on a cajon. With the exception of one brand new number, the beautiful ballad “Rain and Tears and Burgundy”, it was stripped-down reworkings of material from across the band’s history, including a delightful take on the quirky “I Am A Cat”, a reggae-style “Black Noise”, and the less-is-more versions of “Song for Tomorrow” and “Promises” played as encores a year ago.

The electric set focused on the big richly-layered atmospheric numbers and the out-and-out rockers, and turned into a greatest hits set featuring established favourites alongside songs that hadn’t been performed live for years. The way it went from highlight to highlight demonstrated just how strong a back catalogue Panic Room have built up over four albums.

They dazzled with the jazzy “Chameleon” featuring a brief flute solo, the eastern-tinged percussion-heavy “Tightrope Walker”, the soaring title track of “Skin”, and the remarkably emotive “Dust”. They rocked out with “Apocalypstick” from the very first album including a spectacular keyboard wig-out by Jon Edwards, the organ-driven metal monster of “Dark Star”, and the Zeppelinesque “Hiding the World”. As always, Anne-Marie Helder was on superb form vocally, combining range and power with emotional depth and completely dominating the stage. She’s been voted Prog Magazine’s female vocalist of the year more than once for a reason.

Panic Room at The Fleece

Dave Foster made his mark on guitar, demonstrating the versatility that Panic Room’s hugely varied music demands; from atmospheric fills and bluesy soloing to hard-edged riffing and jaw-dropping shredding. We even saw the appearance of a twin-neck guitar on a couple of songs. For music like Panic Room’s the lead guitarist matters as much as the singer, and Dave Foster proved to be a very good fit.

Last year’s tour, good as it was, emphasised the jazz-flavoured adult pop side of the band’s music. But Panic Room have always been a band with feet in more that one camp, and this time around the emphasis was as much on the classy hard rock side, something that had been missing the last time round.

It will be very interesting to see where Panic Room go next. The acoustic album is close to release, after which the band return to the studio to begin work on another new album, again featuring Dave Foster on guitar. But before that there are still two more dates on the tour to go, at Manchester Sound Control and Bilston Robin 2.

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Jacco Gardner – Hypnophobia

Jacco Gardner HypnophobiaHypnophobia is the latest album from Dutch multi-instrumentalist and singer-songwriter Jacco Gardner. It features an array of vintage instruments including a Wurlitzer electric piano, a vintage Steinway, Mellotron and harpsichord, and even an Optigan. Gardner plays all instruments except for the drums, with keyboards and acoustic guitars as the dominant sounds, and lyrical themes cover the nature of dreams and reality.

The album opens with an eerie keyboard figure straight out of a 1950s flying-saucer movie leading into the psychedelic pop of “Another You”, a song with strong echoes of The Teardrop Explodes. Other highlights include the beautiful ripping arpeggios of the instrumental “Grey Lanes”, the lengthy “Before the Dawn” with its Motorik rhythms and shifting chord patterns, the combination of dreamy soundscapes and electronic dance rhythms of the title track, and the stately harpsichord-led closer “All Over”.

There are strong echoes of lighter side of Steve Wilson’s various bands across this record; “Find Yourself” wouldn’t have sounded out of place on a mid-period Porcupine Tree album, and parts of both the title track and the semi-acoustic “Face to Face” recall the sinister soundscapes of Storm Corrosion. But the marriage of progressive rock atmospherics with indie-pop songwriting also has a lot in common with Chris Johnson’s Halo Blind project, as do Gardner’s fragile yet melodic vocals.

Hypnophobia is an album that’s difficult to pigeonhole. It’s described as “Baroque pop”, and has elements of indie, psychedelia, pop and progressive rock, often in the same song. But none of those flavourings ever overwhelm any other, it goes from swirling layered atmospherics to stripped-down minimalism and back again. It all hangs together well as a coherent whole, and at just 40 minutes in length it doesn’t outstay its welcome. The result is an enjoyable work that draws from a rich palette of sounds and rewards repeated listens, with each play revealing further depths and subtleties.

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Zero She Flies about to take flight

Maria MilewskaZero She Flies, the band that evolved out of Mermaid Kiss are about to release their first music. A download single “Small Mercy” will be released very shortly, to be followed by a four track EP called “The River”.  The release date will be announced in the next few days.

Zero She Flies are:
Maria Milewska – lead and backing vocals, piano, keyboards, flute, sequencing
Jamie Field – guitars
Wendy Marks – cor anglais, oboe, recorders, double bass,
Shane Webb – bass, backing vocals

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The Gentle Storm – The Garage

Anneke van Giersbergen at The Garage

The Gentle Storm came to The Garage in London on their tour promoting “The Diary”. The album is a collaboration between singer Anneke van Giersbergen, formerly of The Gathering, and composer and multi-instrumentalist Arjen Anthony Lucassen, main man of Ayreon and myriad other projects. It’s an interesting work, two disks comprising two different versions of the same set of songs, the acoustic folk-flavoured “Gentle” version, and the symphonic metal “Storm” version. It prompted considerable pre-gig speculation as to exactly how they were going to present it on stage.

The opening act was Streams of Passion, who began life as another of Arjen Lucassen’s projects before taking on a life of their own. They’re a band with feet in the progressive and symphonic metal camps. Aside from a brief but impressive mid-set burst of flying-V electric violin, and despite the twin guitars, Marcela Bovio’s powerful voice is Streams of Passion’s main lead instrument, as demonstrated by the long wordless vocal passage late in the set. It was a very strong performance for a support act.

The Gentle Storm began in the opposite manner to many other bands of their ilk. Instead of the now clichéd band kicking up an instrumental storm before the singer makes a dramatic entrance at the last moment, Anneke van Giersbergen stepped onto the stage alone to begin the album’s opener “Gentle Sea”, before being joined by the rest of the band. By the rocked-up celtic jig of “Heart of Amsterdam” they were in full flow, with Anneke on spectacular form vocally.

Arjen Lucassen isn’t part of the live incarnation of The Gentle Storm, though the seven-piece band does include Ayreon alumni Ed Warby on drums as well as two members of Streams of Passion, Marcela Bovio on backing vocals and dreadlocked bassist Johan van Stratum. Having both Anneke van Giersbergan and Marcela Bovio on the same stage made for a lot of vocal talent.

The early part of the set featured “Storm” versions from the album, with The Gathering’s “Eléanor” thrown in for good measure. The twin guitars of Merel Bechtold and Ferry Duijsens covered many of the orchestral lines with the help of guitar effects, reducing the need for pre-recorded backing that’s commonplace in symphonic metal. Though it would be interesing to know exactly what effects they used on some of Marcela Bovio’s vocal lines to make her sound like a full choir.

In mid-set there was an acoustic interlude, which began with an unexpected solo cover of Pink Floyd’s “Wish You Were Here”. Next came a spine-tingling stripped-down piano and vocal take of album standout “The Moment”, sadly marred by loud talkers (why do London idiots pay good money for a gig only to chatter away through the quiet bits?). Finally Marcela Bovio and Ferry Duijsens joined them for Ayreon’s “Valley of the Queens” and “Comatose”.

It was back to the full band for the finale, which included The Gathering’s “Strange Machines”, Ayreon’s “Isis and Osiris” and an epic keyboard solo to close the main set, with the Devin Townsend song “Fallout” and the Kashmir-meets-Stargazer eastern rock monster “Shores of India” as the encores.

In the end, though billed as The Gentle Storm and featuring the bulk of the album “The Diary”, it was really Anneke van Giersbergen’s show. Her charisma and remarkable voice dominated the stage throughout, and although the stronger numbers from the album came over well live, it was the older Gathering and Ayreon numbers that proved to be highlights of the show.

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Nick Cohen on Charlie Hebdo

This blistering piece on Charlie Hebdo by Nick Cohen in the Spectator pulls no punches when it comes to those parts of the Anglo-American left who seem all too willing to make excuses for terrorism.

Not one mentioned that the gang went on to slaughter Parisian Jews in a supermarket for no other reason than that they were Jewish. But they cannot oppose religious prejudice – and in their failure they live a lie far greater and more grotesque than their lies about the dead of Charlie Hebdo.

Prose, Carey, the London Review of Books and so many others agree with Islamists first demand that the world should have a de facto blasphemy law enforced at gunpoint. Break it and you have only yourself to blame if the assassins you provoked kill you

They not only go along with the terrorists from the religious ultra-right but of every state that uses Islam to maintain its power. They can show no solidarity with gays in Iran, bloggers in Saudi Arabia and persecuted women and religious minorities across the Middle East, who must fight theocracy. They have no understanding that enemies of Charlie Hebdo are also the enemies of liberal Muslims and ex-Muslims in the West. In the battle between the two, they have in their stupidity and malice allied with the wrong side.

Most glaringly they have failed to understand power. It is not fixed but fluid. It depends on where you stand. The unemployed terrorist with the gun is more powerful than the Parisian cartoonist cowering underneath his desk. The marginal cleric may well face racism and hatred – as my most liberal British Muslim friends do – but when he sits in a Sharia court imposing misogynist rules on Muslim women in the West, he is no longer a victim or potential victim but a man to be feared.

What he said, basically.

If you follow any discussions in left-liberal or social justice circles, you hear the word “privilege” a lot. Privilege is a very useful concept when it makes you consider the crap that other people have to deal with and you don’t, especially when it makes you mindful in not contributing towards that crap.

But privilege is not an infallible moral calculus that can decides who’s right and who’s wrong in any situation based purely on what demographic or sub-demographic group they belong to. And it breaks down completely if you start to believe in one-dimensional hierarchies of oppression than take no account of contexts or individual agency. Sooner or later you’re going to end up defending out-and-out evil. And once people start getting killed, society pays a high price for such moral self-indulgence.

If there are really significant numbers of people in the Anglo-American middle-class left who believe that cold-blooded mass murder is a lesser evil than publishing sacrilegious cartoons because White Privilege, then it demonstrates the utter intellectual and moral bankruptcy of the left. They will deny it if challenged, of course, but their use of weaseling language of the “I’m not racist but” variety and the way they spend more time explaining why Charlie Hebdo are bad than condemning the murderers shows whose side they’re really on.

Not that the right deserve to get off the hook either. The right’s continual blurring the distinction between criticism of fundamentalism and old-fashioned racism, and Bush and Blair’s criminally ill-conceived and disastrously-executed military adventures in the Middle East that have killed vast numbers of innocent people have done much to poison the well. And it’s all compounded by the idiotic Red Tribe versus Blue Tribe nature of American politics which poisons everything it touches, so if one tribe supports a thing the other will oppose it as a knee-jerk reaction regardless of the merits of the actual issue.

You are perfectly free to believe that Charlie Hebdo’s cartoons are gross, purile, insulting or offensive. But that is not the point.

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Panic Room – Wildfire Tour

Panic Room - Wildfire

Just a few days until Panic Room hit the road for the spring “Wildfire” tour!

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Jess and the Ancient Ones – Come Crimson Death

A band citing major influences as Black Sabbath, Mercyful Fate and ABBA could only come from Finland. Great late-60s psychedelic hard rock feel, well worth a listen if you’re into bands like Purson or Blood Ceremony.

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To Boldly Go Where No Locomotive Has Gone Before

Announced today by Rapido Trains.

Rapido is excited to announce that a limited run of just 40 HO scale “LRC Shuttlecraft” DC/DCC-ready locomotives are being offered for bid in our on line silent auction in support of the Canadian Lung Association’s efforts to eliminate COPD.

Now you can bid on one of 40 exclusive, never-to-be-offered-again LRC shuttlecraft. Only one shuttlecraft allowed per person.

Starting bids are $199.95 for these once-in-a-lifetime units. Bid as high as you can because only the top 40 bidders will get their HO scale LRC shuttlecraft!

Bidding ends midnight June 1st – all winning bids will be contacted by email and will have seven (7) days to arrange payment. We accept bids worldwide. Shipping costs will be charged separately.

100% of all successful bids received will be donated to the Canadian Lung Association in memory of Leonard Nimoy.*

Full details on the Rapido Shuttlecraft oage.

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How a dictatorship flourished in the East End

The Guardian’s Nick Cohen is on blistering form describing how a dictatorship flourished in the East End

The neurotic fear of accusations of race and religious bias helped Rahman build a municipal dictatorship. The system of elected mayors is always open to abuse, because there are so few controls on them. Rahman pushed it to the limits. He controlled grants and officials could not prevent him handing public money to his supporters. He controlled the officials, too, and used supposedly impartial public servants to “carry out electoral activities on his behalf”.

Tower Hamlets First, his political party, was nothing more than a cult of the personality. If you wanted a safe seat on the council, you had to show a lapdog loyalty to Rahman. Speaking of dogs, the judge noticed that when there was not even the slightest justification for an accusation of racism, Rahman and his cronies would accuse their opponents of “dog-whistle politics” instead. By these means, anything and everything an opponent said could be turned into coded racism, even when the racism was only in the mind of the accuser.

Come on, admit it – it’s not just in the East End you see these tricks played. The postmodern universities and identity-obsessed scour speech for the smallest hint of bigotry, real or imagined. They seize on it – and with a whoop of triumph – cry that the mask has slipped to expose the true face of prejudice. Surely you have noticed, too, that in the paranoia that follows, careerists and charlatans flourish.

He doesn’t mince words, does he?

It’s yet another examle of the way the identity politics and priviledge theory adopted by large parts of the left have created an envionment in which corrupt bullies can thrive.

The fiasco of Tower Hamlets goes to prove it’s not just the storm-in-teacup culture wars in nerd fandoms or the toytown politics of student unions that have been poisoned.  If effects the real world as well.

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Eschaton – Sentinel Apocalypse

Eschaton - Sentinel ApocalypseEschaton have been described as progressive metal. Progressive metal when done well combines the scope and ambition of progressive rock with the power and energy of metal. Unfortunately Eschaton fail to achieve this with their début album “Sentinel Apocalypse”. It’s very easy to imagine this is what all metal must sound like for people who really can’t abide metal.

Pretentious song titles like “Achromatic Reign” suggest that they don’t know what “Achromatic” means, while “The Beast Is Embedded” and “The Beast Has Awoken” suggest follow-ups “The Beast Has Nodded Off Again” and “The Beast Has Got Up To Go To The Loo”. It appears to be a science-fiction concept album of sorts, though what the concept might be is anybody’s guess, since it’s next to impossible to make out a single word of the tunelessly screeched lyrics. Maybe it’s about Roko’s Basilisk? There are vocalists who can do the cookie-monster thing exceptionally well. But Eschaton’s singist is no Mikael Ã…kerfeldt; after a couple of songs it starts to get quite painful to listen to.

This is a band who really need to hone their craft before they try to make another record. Every song sounds exactly the same, giving them an utterly one-dimensional sound. And it’s not even a good sound. The drummer batters away at his kit without ever developing any sense of groove, the guitar solos are formless flurries of notes without melody or structure, and there is absolutely no use of dynamics. As a sheer wall of noise it lacks the visceral fury of the likes of Napalm Death. There is evidence of some technical instrumental ability here and there, but they’re failing to do anything worthwhile with those chops.

In the hands of a band who know what they’re doing, metal can produce wonderful life-changing music. But as Sturgeon’s Law famously states, 90% of everything is crud, and this record sadly falls far below the Sturgeon threshold.

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