Author Archives: Tim Hall

When Empires Fall

When Empires FallWhen Empires Fall is the latest addition to the incestuous York-based progressive rock scene. It’s the new project from former Stolen Earth and Breathing Space bassist Paul Teasdale. A sample track, “Call To The Night Watch” with vocalist Aleksandra Koziol appeared something like a year ago, but since then we’ve had a long wait for the album.

When Empires Fall consists of guitarists Stew King and Dave Hunt, and Paul Teasdale on everything else. Paul handles the majority of the lead vocals himself, with Aleksandra Koziol and Joanne Wallis appearing as guest vocalists, each singing lead vocals on one song. There is also an appearance from Paul Teasdale’s one time Breathing Space bandmate, guitarist Mark Rowen.

The two opening tracks set the tone. “Intro” with it’s birdsong, doomladen keys and Floydian guitar flourishes leads into the bass groove-driven rocker “Hurt”. The album is an interesting and very varied mix of indie-rock and progressive rock, uptempo rockers with trebly guitars sit alongside atmospheric keyboard-led ballads. There are certainly a few songs that would not have sounded out of place on a Stolen Earth album had the original lineup of that band stayed together. But other material, especially on the first half of the album have a strong Britpop flavour. A strong sense of melody that owes a debt to The Beatles is the glue holding it all together, and the album as a whole has something of the feel of mid-period Porcupine Tree.

Highlights include the Hammond-drenched ballad “Barricade”, the angry psychedelic rocker “14 Bullets” and “Under No Illusion” with a superb extended solo from Mark Rowan. “Call To The Night Watch” is the nearest thing on the album to a prog epic, with it’s pastoral opening and a spine-tingling vocal from Aleksandra Koziol. A few of the songs carry a strong political charge,

Never any more than a backing singer in Breathing Space or Stolen Earth, the soaring melodies prove Paul Teasdale more than up to the task of singing lead. His bass playing is as dependably solid as expected, but he also impresses on keys, especially the Hammond organ on “Barricade” and the electric piano on “Sinking Deeper”.

Much like another recent record from the York scene, Halo Blind’s “Occupying Forces” this is a record that has feet in more than camp. It has the depth, atmospherics and musicianship to appeal to progressive rock fans, but the straightforward and direct songwriting should also make this record accessible to more mainstream indie-rock audiences.

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When Things Just Aren’t What They Seem, a very moving and very tragic post from Michael Larson. It’s quite long, but really needs to be read in full.

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Alice and the Cheshire Cat talk ISO 29119

Mike Talks goes down the ISO29119 rabbit-hole and explains the likely outcome of IS29119 with Alice and the Cheshire Cat.

Alice took a quizzical look at the Cheshire Cat, “so you’re a tester? But you’re a cat!”.

“Oh,” the Cheshire Cat beamed, his almost rictus grin fixed permanently and inflexibly across his face, “in your world that might be a problem, but not in this one. Did you have a better candidate in mind? Would YOU want to sit in a meeting with the Mad Hatter, changing his seat every few minutes, or tell the Queen of Hearts that the project might have to be delayed?” He purred a very self-satisfied purr to himself. “No … I think you’ll find in reality, or as close as it gets in this place, I’m the perfect person for the job.”

I’m not going to spoil it by giving away the punchline; go and read the whole thing!

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Dave Kerzner – Stranded

“Stranded” from Dave Kerzner’s forthcoming album “New World”, featuring guest appearances from Steve Hackett and Durga McBroom.

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Gamergate

The intensity of the #Gamergate shitstorm has me rolling my eyes in disbelief.

It is difficult to understand how the revelation that one game developer was sleeping with a reviewer represents wholesale corruption in the entire games industry. And it’s near impossible to believe the gaming press could be remotely as corrupt or as destructive as vast swathes of the music press have been for decades. Although it has to be said that one or two of the inflammatory editorials I’ve seen appear to have been written with the deliberate intention of pouring petrol on the flames.

I’m not into video games, but my social media feeds are filling up with it all the same. From the outside the whole thing looks like yet another round in the same culture wars we’ve been seeing across the SFF fandom and the Tabletop RPG worlds over the past couple of years. It’s the same mess of entrenched positions and exclusionary rhetoric where truth is the first casualty, and the internet is yet again amplifying the loudest and most polarising voices.

The way these things constantly blow up over relatively trivial issues is getting very wearing. I’m not surprised that I’m seeing good people quit social media, burned out by the never-ending outrage.

Of course, whenever there’s a shitstorm of this natures, the trolls descent like vultures, but we should be wary of claims tying those trolls to any wider demographic.

It shouldn’t need to be said that there is no justification for anonymous threats aimed at individuals, ever.

If you are one of those who thinks these wars are a fight to the death between “Us” and “Them”, and you consider a sizeable part of the fandom or hobby as “Them”, then you are part of the problem, regardless of which “side” you are rooting for.

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Apparently the closest nail varnish colour to Stroudley’s Improved Engine Green is “Nude Bronze”. This piece of utterley useless information comes from a thread (registration required) on RMweb.

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The Pros and Cons of Classic Album In Full Sets

A Guardian piece claims that  the ‘classic’ album set is ruining festivals. It actually makes some good points, but those points are so clumsily-made that the whole piece reads far more like provocative clickbait than perhaps it should. The last sentence on this quote is a self-evident load of tripe.

This week, there’s even an entire festival in Chicago and Denver dedicated to artists too lazy to write a proper setlist. Weezer, Slayer, Jane’s Addiction and seven more will plough through their biggest albums front-to-back at Riot Fest, so if you want to hear a band you used to like perform a track they wrote as filler 20 years ago, knock yourself out. Be honest: when was the last time you actually played an album, including all those rubbish “skits” artists are so keen on, all the way through?

The “Play a classic album in full” thing got started because fans were getting bored of older bands playing the same standards tour after tour as if they were their own tribute act, and it was an opportunity to shake things up and perform the odd rarely-played song live.

This was a fine approach for bands who have made albums as consistently great as “Moving Pictures” or “Blackwater Park”, but once the trend caught on too many bands who hadn’t actually made a flawless classic jumped on the bandwagon. For them, some of those rarely-played songs were rarely-played for a reason.

There were two such sets on the Prog stage at High Voltage in 2011, Uriah Heep playing “Demons and Wizards” and Martyn Turner’s Wishbone Ash playing “Argus”.  The latter worked really well, it’s an album that’s stood the test of time, and it made for a more enjoyable set that the blues-rock workouts you get from Andy Powell’s official Wishbone Ash nowadays.  The Heep set was far less effective,  much like every 70s Uriah Heep album there was a lot of filler and some of the album had dated very badly. A greatest hits set cherry-picking the best songs from their 40 year career would have been so much better.

Which all goes to show that album-in-full sets are neither a good thing or a bad thing in themselves, but they depend on the band, and on the album.

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Par to St Blazey in N

Par to St Blazey in N

This is another one of those draft project track plans of mine. It’s an attempt to squeeze one of my long-term ambitions into the loft space I currently have available; Par and St Blazey in Cornwall.

I started building a layout based on this prototype many years ago, in a 12′ x 8′ outbuilding when I still lived in Slough. It got as far as the main-line part, with trains running and some rudimentary scenery. It never ran that well due to the poor quality of my baseboard construction, and an enforced move for work reasons eventually put it out of its misery. But it’s an idea that never died, and of course I have all the necessary rolling stock.

Par & St Blazey

It was a fascinating prototype back in the late 1980s, when I started building the original layout, and visited the area several times. Par was (and still is) a classic junction station fully signalled by WR lower-quadrant signals. The marshalling yard and locomotive depot at St.Blazey sat half a mile along the branch to Newquay, and was the operational hub for freight operations in Cornwall. Most of the traffic at the time was wagonload, and the yard was the place where trip workings from various locations were assembled into long-distance trains for destinations outside Cornwall.

China clay was the predominant traffic, but the yard also saw cement to Chasewater, calcified seaward from Drinnink Mill, beer from Truro and fuel oil to Penzance. Freight traffic to and from west Cornwall had to reverse in Par station, usually running round in the station. It was a busy place; St Blazey yard saw up to seven arrivals and seven departures a day, including three to west Cornwall, and the main line saw a procession of passenger traffic, as well as a fair bit of parcels and mail. Most of the long-distance passenger workings were HST sets, but the local trains were four or five Mk1 coaches behind a class 47 or 50.

St Blazey Yard with an unidentified class 08 shunter in faded Mainline blue livery
St Blazay yard in 2004, by which time it was far less busy

My original layout was in a U-shape, with Par station along one wall, and St Blazey (had the layout got that far) along the other, with the staging yard for the main line behind St.Blazey. The main line was arranged as a dumbbell, so up trains could reappear as down trains, meaning you could operate a representative 24 hour timetable.

I couldn’t work out a good way of fitting that plan into my current space, which is slightly larger but a different shape, but this alternative plan seems to cover most of my “givens and druthers”. It’s still a U-shape, but with the main line a more traditional oval with the main fiddle yard behind Par, and a sexond smaller fiddle yard representing the Newquay branch tucked behind St Blazey. The plan uses Kato Unitrack, which for me is ideal for a layout focussed on operation rather than display. This will not be a finescale layout.

Single unit class 153 railcar in Cornish advertising black livery at Par
By 2004 all the local services were railcars

A few caveats. First, this is a first attempt to see if the concept can be made to fit the space; some of the track lengths in St Blazey yard have been bodged to fit, and will need some fiddling about with funny length straights for any final design. Second, the turntable is a Fleischman manual one, since I’ve actually got one available. The plan might work better with the newly-released Kato electric turntable. And finally, I haven’t designed the main line fiddle yard yet, which might be one of the more challenging aspects of the plan; exhibition-style up and down loops won’t work for the sort of operation I’m planning.

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If you’re seeing a banner ad just under the menu, it means you haven’t left any comments on this blog. I’m testing some code to inflict ads on people who wander in from Google without annoying my regular readers.

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If I find myself leaving snarky comments against risibly pompous and patronising articles served up by LinkedIn (Really, there was one that suggested your career depends on driving the right car!), then perhaps I really need to get back on Twitter…

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