London and the colonial hangover

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a city full of cunts who think that people need to be guided like cattle by white men in suits

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Miliband the sycophant, yet again

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Yawn. That's all it induces, as your eyes doggedly scan the text, procuring the scarce semantics conveyed by the tiresome punchlines and lifeless descriptions. The text, exactly? Ed Miliband's latest interview in the New Statesman, of course. If, in some hypothetical, fitting theatrical realm, the Conservative Party was to secure the role of King Claudius, appointing from its considerable array of ministerial actors, the cursed Polonius would no doubt be assumed by Ed Miliband. The Labour leader as ever, offers little in the way of ingenuity, contradicts himself occasionally and intellectually, turns in speechless. Yet it seems as if Miliband cannot even summon the political fight to defend his own party. Labour's legacy in power remains under perpetual Conservative attack; verbal artillery decrying that ghastly, murderous, torturous, massacring, horrible, contemptible, foul  budget deficit remains live, the offensive driven forward by battle cries of irresponsibility and
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How Do You Sleep - Stone Roses (1994)

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This is a true gem of a tune. It’s probably the most poppy song on Second Coming , and I much prefer it to it’s sister song on the album, Ten Storey Love Song. Ten Storey is a good song in its own right, but lacks the lyrical anger and bitterness of the first album’s snake-fanged bite. Ten Storey is also the showcase of the new Ian Brown vocal: a voice which no longer slips and bleeds through the instrumental fabric but, ala Gallagher, tries to roar over and even fight against it. John Squire’s meatier, bold guitar lines demanded a louder, more potent vocal than the soft whispers of Fools Gold, and the smothered wail heard on This Is The One. Instrumentally, The Second Coming songs lacked the loose, almost improvised roll of the first album. There are fewer empty spaces, fewer moments of pure bass and drum and therefore, fewer moments for Brown to intone gently without competing against the lead guitar.  The lyrics on Second Coming were written entirely
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