So the government have postponed the Midland Main Line and Trans-Pennine electrification schemes amidst suggestions that the high-profile Great Western electrification is running seriously late and way over budget.
Given the Tories pre-election promises it’s looking like their equivalent of the Liberal Democrat’s tuition fees débâcle, at least on the surface. So much for the “Northern Powerhouse”. Though in this case, since it’s widely suggested that there were plenty of warning signs that the GW project was in trouble, but bad news was being deliberately suppressed prior to the election. Which means the charge against the Tories one of deliberate lying rather than broken promises.
There is horrible echo of the 1963 appointment of Dr Beeching in response to the cost overruns of the 1955 modernisation plan, though in a time where passenger numbers are rising year upon year we’re unlikely to see Beeching-style closures. The 1955 plan was a crash programme following years of under-investment on a network that had never really recovered from being run into the ground during World War 2. It involved a lot of new and untried technology, much of which wasn’t terribly successful, from manufacturers who seemed to be chosen as much because of politics than their expertise. A lot of money was misspent, both on unsuccessful locomotive designs and on vast freight marshalling yards which soon turned into massive white elephants. And let’s not mention the unspeakable horror that is Birmingham New Street station.
Likewise we’re now playing a heavy price for the lack of any large-scale electrification schemes since the late 1980s East Coast Main Line, a full generation ago. Paul Bigland describes it well: The Labour government from 1997 to 2010 believed there was no need for electrification because some magical new technology was just around the corner. So the British railway industry lost the skills base necessary for such large and complex engineering projects, which is one reason the Great Western scheme has run into such difficulties. It’s just the same as the stop-start-stop approach to rolling stock procurement has decimated Britain’s train manufacturing industry. We’re now importing locomotives and multiple units from America, Spain, Germany and even Japan because British works went out of business during lean years.
A more rational approach would have seen a slow but steady rolling programme of electrification over the past four decades; as one project finished the teams would move on to the next, and lessons learned in past projects applied to future ones. The Midland and Transpennine routes would have been electrified years ago, along with other trunk routes who’s electrification isn’t even on the horizon.
One final point. A lot of ill-informed commentators with political axes to grind are now claiming that the MML and TPE schemes are being scrapped in order to save HS2. Paul Bigland again skewers this argument as complete cobblers, emphasising the fundamental difference between upgrading existing lines and building brand new infrastructure. And yet again the anti-HS2 mob have no answer to the fundamental rationale behind HS2, the lack of capacity on existing routes heading north out of London.
Italian 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.
California’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.
Norwegian 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.
We’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.
And 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.
The Guardian have just published a piece I’ve written in their “Ten of the Best” series, about 
