This young lady's writing has a stripped-down feel. It's as raw as you like. I don't know how popular she is with the kids of today, but she ought to be causing a stir. The new generation of listeners are so much more discerning musically than I was at that age so I've got every confidence that they'll pick up on this girl's talents.
"If you get my name wrong/I won't get pissed off/'cause I wish I was somebody else."
Låpsley - "Station"
I've been listening to "Falling Short" - another song by Låpsley - for a very long time. But it's only recently that I've discovered this one. It has a great laid-back quality and feels as if it should belong in a dream sequence. I'm increasingly drawn to songs that gives that listener room to think and this one certainly allows that.
The Dø - "Despair, Hangover and Ecstasy"
I like the European feel to this one. There's a freedom of performance to French singers that you don't necessarily see in England. Camille is an obvious example of another unique French performer (think Sia, but a little more creative). It's just a little bit different, a little more direct, even if it is vaguely cheesy.
Laura Marling & Eddie Berman - "Like a Rolling Stone"
Marling's latest album, Short Movie, has been lauded as her best yet, but my interest has wained ever since "A Creature I Don't Know". Her second album, "I Speak Because I Can" is arguably her best. Ever since then it seems as if she's struggled to forge an identity that is equal in honesty to the one found on her first two albums. I saw her perform at Gloucester Cathedral in 2011 and it was then that I believe she was at the height of her powers. However, it's nice to hear cover songs like this that harks back to the Marling of old - a voice as expressionistic as understatedly powerful as the one I fell in love with.
Slow Club - "Disco 2000"The amount of times I've listened to Slow Club's cover of Pulp's "Disco 2000" is bordering on the ridiculous. Jarvis Cocker has always been a great storyteller, and it is the story that draws me most to this cover. I've been waiting for Slow Club to get their big break for a while. It might have been on the back of the following performance, but they are still relatively unknown. However, they are set to support The Mystery Jets in a BBC 6Music Celebration of Sheffield at the beginning of May, so let's hope that gives the duet the exposure they deserve.
Samsa was now a human. He’d recently become a human after his architect decided to put a human heart in him and give him feelings. The five litres of blood that now pumped around his body warmed him up. It made for incredible nose bleeds, spasms, cramps and bruising, to name o nly a small fraction of the symptoms, but his architect assured him that it would all be worth it and that he'd feel normal very soon. He didn't know what normal was, but he knew it wasn't puking and shitting and bleeding all over the place for the first two months and then just feeling terrible for several weeks after that. Human life is agony, he thought, but he trusted the process. One day, a little over twelve weeks after the operation, he woke up from his first good night's sleep and was able to open the curtains without the light splitting his skull in two. Samsa had known Shabeezi before she became a human woman. All they had done was fight. Samsa especially liked doing flying
Before the snow came the smell of cinnamon. I wanted to track it all the way back to its source, to see who gave it flight. I imagine a woman, seventy-five, making herself a cappuccino next to an open window. The air is cold and sharp but she needs a quick blast of late autumn’s best before she gets out with the whippet. Wisp is looking at her from her basket, scanning for indications from mum that her walk is coming. Don’t worry, Wisp: walkies is imminent - but then a song comes on the radio that she hasn’t heard in fifty years. The Serge Gainsbourg ballad throws her into a deep dream-state, a reverie that takes her all the way back to Paris. She walks to the cupboard to find the cinnamon shaker, brushing shoulders with actors and actresses who’d worked with Godard and Truffaut and Antonioni. She remembers the time she once saw Jane Birkin at a party and witnessed first-hand the effect her beauty had on all the men in the room. I was two miles away from home, running at an easy, stead
Tom Wiggins: What are your first impressions of Michael Fassbender/Brandon's running style? Paul Whittaker: He's running nice, smooth and relaxed. He seems like he has a good amount of fitness and he is running well within himself in terms of pace. TW: What improvements could he make to his running style? PW: The main improvement I'd make is his foot plant. He lands heel first and this causes a 'breaking' effect when travelling forwards. If he landed on his mid-foot/forefoot, this would be a much better for impact stress and propulsion going forward into the next running stride. TW: Regarding his speed, how many minutes per mile is he running? PW : I would say he is running approx 7-7.30 minutes per mile. TW: What do you make of his stride lengths? Is he overstriding/understriding? PW: The actor is definitely overstriding in this clip. It would help if his feet landed underneath and below his centre of gravity. TW: What's his
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