The song barely seems to get off the ground, with it following the same pattern throughout on auto pilot. There is one line that sticks in my head “have a dance, have a drink” but unfortunately the song flatters to deceive. I’m disappointed, and expect better for the new album!

p.s. The video kick ass… check it out below!

2.5/5

Tom Clarke recently claimed this new record has “grown some bollocks”, a more matured effort than their debut “We’ll Live & Die In These Towns”. You can certainly tell where he’s coming from when you hear this offering. The sound effects are epic, his voice even manages to reach new unimaginable heights; it’s just ashame the song isn’t that good.

The verses are a very bland affair, with Tom’s accent being harder to decipher than ever (still… no way near in the same league as Kyle Falconer). The chorus is also quite unmemorable, with no addictive hook.

“No time… for tears”… I’m afraid I might be in tears if all the songs are in the same vain as this on the new album!

2/5

With both teams hoping to mount a challenge on the top four, this made for a mouthwatering encounter that lived up to its billing in ever sense.  This was the first Premiership game I had ever attended, and mark my words, it will not be the last!

Everton have been the team I’ve been following in the Prem for quite some time now, mainly down to my families scouse roots. Everton is in my blood (well… a small fraction of it is) and I was looking forward to sampling Goodison Park and a jubilant atmosphere.

The problem was, the game couldn’t have started any worse for us Evertonians. The ball was put out into touch in Aston Villa’s half pretty much straight from the kick off and within the blink of an eye, Villa produced a fine passing move which gave STEVE SIDWELL the chance to crack one from long range. Even he couldn’t have predicted the results, as his rasping drive found the corner of Tim Howard’s net, sending the Villa faithful into frenzy (that brought an abrupt  end to my chances on the Golden Goal).

When play resumed it was still all Villa, with the Everton crowd beginning to moan and groan after the sides sluggish start. Fortunately the midfield finally found their feet, providing some scraps for Victor Anichebe to work on. The first shot on goal for the blues was finally conjured up after the half hour mark with Tim Cahill firing in from an angle which Brad Friedal comfortably stopped. More pressure down the flank resulted in Steven Pienaar being brought down at the corner of the box, and from the resulting free kick the ball broke to JOLEON LESCOTT who prodded home from all of two yards. The rest of the half passed by with the only notable change coming when Marouane Fellaini had a header cleared off the line from a corner. It was starting to appear as if Everton had gained the upper hand in this tie.

The second half begun evenly, until Phil Jagielka decided to play an awful back pass which ASHLEY YOUNG raced onto and said “Thank you very much” before slotting home from the edge of the box. Once again it all looked doom and gloom, but Everton huffed and puffed. As injury time approached it looked like the team had run out of ideas before Phil Jagielka was moved up front, forcing a corner for the home side. Just as the ball got hooked clear we thought we may as well call it a day now. But seconds later the ball was pumped back in the box into Jagielka’s path, as he cushioned a header towards JOLEON LESCOTT who emphatically sealed the equaliser with an acrobatic strike. The Goodison faithful was sent into raptures.

As both teams kicked off (for what we presumed was the last time) we were all feeling gleeful, chanting songs of praise, nothing could ruin this great turnaround. It only took 30 seconds to dispel this though, as ASHLEY YOUNG picked up a loose ball on the byline before dodging past Lescott and sealing victory with another composed finish past Howard. It was a bitter pill to swallow.

But does the latest addition to the cult Bond franchise cut the mustard?

Well if you’re looking for a classic Bond film, then you’ve come to the wrong place. ‘Quantum Of Solace’ fails to meet the standards set by its predeccessor ‘Casino Royale’, serving up a cold, cruel, unsympathetic Bond. Dumping the body of one of your lifelong associates into a skip is hardly heartwarming now is it?

This film will leave many fans scratching their heads. Where are the legendary gadgets? The grueling arch-nemesis? The classic Bond woman? The main catchphrase isn’t even uttered for Pete’s sake!

The opening is as high octane as you can ask for, with a rip-roaring car chase taking place involving an Aston Martin and two Alfa Romeo’s in the Italian mountain range. From these scenes alone, it’s easy to see how this film was the most expensive Bond film in the franchises’ 60 year history. I’m afraid it’s all downhill from here though… literally.

The plot is confusing, with numerous shifts of location: Italy to Haiti to Bolivia to Austria etc. But basically, the story centres around Bond on the trail of Vesper’s killers, a woman he had fallen in love with last time round.

Overall, this film is a solid action epic, but will certainly have lost a lot of the core Bond fanbase.

6.5/10

But how does it fare?

Well… if this is an offering of what is to come from the new album then prepare to be disappointed.

I was a massive fan of Snow Patrol when “Final Straw” surfaced, and funnily enough, this was the album that shot them into the big league and people took notice. It was indie music crafted to perfection; containing highlights such as “Run” & Spitting Games”. The album tracks also stood up to the singles though, with songs such as ”How To Be Dead” & “Wow” becoming fan favourites. “Eyes Open” was a weaker follow up, but spawned the anthemic “Chasing Cars” which has just become impossible to avoid.

“Take Back The City” echoes U2 the first moment you listen to the track. It sounds increasingly like “The City Of Blinding Lights” in some sections, particularly the chorus with it’s “I love this city tonight” refrain. There’s no doubting Lightbody possesses a voice of epic proportions, but it just seems like it’s being wasted in a band that has begun to produce such dross as this.

2/5

The burning question is… is this film actually funny???And the answer is…

MILDLY!!!

In case you haven’t seen the trailer, then basically the outline of this film is that a stoner (Rogen) and his dealer (Franco), are forced to go on the run from the police after Rogen witnesses a cop commit a murder. A simple plot you may think, but you know how these guys can drag it out!

There are a few noteworthy comical moments such as a nice Jude Law gag, but on the whole, Pineapple Express fails to deliver any belly aching laughs. On the bright side though, Franco plays a solid role in the movie and you can easily warm to his character. Rogen also has a girlfriend who plays a role in the opening of the film, but she seems to mysteriously disappear; along with the plot that seemingly tails off into nothingness towards the end.

3/5

But what’s the verdict?

It wouldn’t be hard to follow up from 2002′s disappointing musical departure (“Don’t Believe The Truth”), the album Noel Gallagher branded as “The best record we’ve produced since Definitely Maybe”; but it seems that Oasis have finally pulled a record out the bag that may raise the bands reputation stakes.

“Falling Down” is the immediate album highlight, a psychadelic trip based around Zak Starkey’s drum beat and Andy Bell’s waltzing bassline. It is untypical territory for Oasis but it works so perfectly, with Noel revealing his spiritual side ”I tried to talk with God to no avail”.

Liam’s moving lennon-esque (surprise surprise) ballad  ”I’m Outta Time” is another obvious single choice, based around a sweeping piano melody and a speech sample from the man Lennon himself.

You see a bit of the early day classic Oasis in the lead single “The Shock Of The Lightning”, which features one of the most mesmorising drum solos you may ever hear in some of their work. Starkey plays a key role in rehashing Oasis’ old punky sound, which will be pleasing for early fans.

“Ain’t Got Nothin” is The Meaning Of Soul’s bolder brother; bigger, brasher and cockier.

Half of the album sees Oasis slipping into autopilot mode, with songs plodding along just nicely with no thrills. This is Oasis’ downfall, with all the songs seeming to flow at a familiar tempo.

Opener “Bag It Up” is an exception though, with a bolshy riff and sneering vocals from Gallagher junior.

Overall, this is a welcome return to old ground from the band; but it is yet to be seen whether this album will make them any new fans.

6.5/10

What can I say apart from “welcome”,  ”enjoy the read” or “caution: this webpage may send you off into the land of nod”?

So the basic gist of creating this site was to post my feelings on many topical issues that matter to me, and hopefully you shall be able to engage with them and find them interesting too! (fingers crossed)

I’m just an average 19 year old bloke with nothing better to do

Cheers

Wilsonio