‘Wild is the wind’ – 10 songs about winter

Sunday 21st January 2018

Home for a day to sort through my books and cull all the ones that bring the least amount of sentimentality. My mother is moving house again and my old bedroom is still stacked to the brim: every Bill Bryson book going, 1,001 photos, my school yearbook, a dozen payslips from my first part-time job, and three copies of the same ABBA Gold compilation (despite moving out 18 months ago). I knew I was coming home to do this this weekend, so had prepared myself for the emotions it brings; the idea of other people moving on and you having to change with them. If it were down to me, I’d have kept every single one of these books and trinkets, as, after a few house moves and a move-out, these are the objects and notebooks that have made the final cut many times before. However, I obliged to help my mum out with the move – I genuinely don’t want the Mighty Boosh box set and stray photos of ex-boyfriends to follow her into yet another residence.

Here are some things that I’ve never managed to to throw away that have now followed me to London.

  1. Some loose papers, comprising my AS Level English coursework typed up, and the first handwritten page of the Very First Draft of my very first play. I kept the coursework because I’ve been looking for it for ages, trying to sum up to my boyfriend what kind of parties my friends and I frequented aged 16. I thank my lower sixth self that I essentially wrote a completely true account of a singular hedonistic Saturday night that was had one weekend, when us small town folk were so unbelievably bored with everything, we did everything going (as the generation that was raised watching Skins, scuzzy nights were the norm). The short story brings way more vivid memories of my misspent youth than any highly-posed photographs do. I kept the first page of my first play because there were dozens upon dozens of rewrites to get it to where it ended up, and it’s nice to remember that everything has to start somewhere.
  2. We’re Going On A Bear Hunt by Michael Rosen and Helen Oxenbury. I considered throwing this but a dear friend of mine bought it for my birthday during a particularly rocky year (I was 19 or something and despite it having about 30 words all in all it was such a thoughtful gift). There’s something about not being able to go over or under it – we have to go through it! – that is so immediately comforting.
  3. Wayne’s World.
  4. Wayne’s World 2.
  5. One of three ABBA Gold CDs (the other two are headed for a Peterborough British Heart Foundation, on your marks…)

Anyway, on another note, I’m pretty surprised that spring hasn’t immediately followed Christmas again. The same thing happens each year; I forget there’s at least another 60 long nights and early mornings before things start brightening up. As such, here are 10 songs of the alternative seasonal kind to wind down to this winter *fades in music*… 

https://open.spotify.com/embed/user/pocketcup/playlist/4Ivq9tWs6RRv1MDuH687QD

(If you like a seasonal playlist, I did one about ‘Spring’ last year, an arguably better month and – whisper it – an arguably better playlist, too).

“Keep those eyes wide” : First impressions of Laura Marling’s ‘Short Movie’

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Artwork for Laura Marling’s new release, Short Movie

Hello, there! Hope you are well, anonymous internet presence. Since my last post, I have begun a ‘proper’ editorial job and am training with a lovely group of journalists, working for a trade publication. This means I have a bit more money in the pot; I can finally start listening to music again! It’s not that I’m completely opposed to the free distribution of file sharing/music online, I’m just not tech-savvy enough. Sad, I know. I’m like your dad. Although I lie, the following record was sent to me by a very generous music journo in the business, whom shall not be named lest I get stuck in a sticky legal situation. Thanks for reading! – T.A.L x


It’s important background information for you to know how big a fan I am of Laura Marling before you start reading.

I was sent the download file for her newly-released album, Short Movie, last week – and had to restrain from listening to it for three whole days – lest my heart couldn’t cope with how good it could be (last week was full of numerous pulled heartstrings.) ((NB: Not to be confused with hamstrings, having not exercised since 2013.))

Laura Marling’s music was solely responsible for the reason I begged my dad to get me a guitar for my 13th birthday. Up until now, the cheap-ish acoustic-electric model has sufficed, emulating (attempting) her style and learning all of her earlier, folkier sounding stuff, dedicating evenings after school, to record, re-record, film and then NEVER show to the world. Carpe diem! Rock n roll!

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On this album, we begin to hear a more plugged-in, electric direction, on tracks such as False Hope and Don’t Let Me Bring You Down along with some wonderfully placed microphone synth effects on the opener, Warrior. I’m a total sucker for an opening track – something I’ve pretty much disclosed to everyone I’ve ever met – and this opener totally sucks me in (ha ha, writing!)

Warrior hooks me in with its confident minor chords and fantastically year 8 angst-sounding introductory lyrics:

“I stumble some way on, licking my sores,
Tasting the memory of pain I have endured
Wondering where am I to go?”

I wrote the opening track of an album called ‘Hard to be Human’ when I was 12, with a lyric of MINE  I distinctively remember as:

“The nights are not getting any brighter,
To face you life you have to be a fighter
And I guess that you always knew that,
It’s hard work to be human”

 ALMOST on the same level, RIGHT?!

Anyway, I digress.

 Track 2, False Hope, is Laura Marling really sounding like herself – and as a long-term fan – this makes me fist pump and feel an immense sense of pride in someone only a fan who’s-never-met-the-person gets. Ironically, the lyric “Is it still okay that I don’t know how to be at all?” leaves me flabbergasted, as I have never heard a song about uncertainty sound quite so certain.

The third track, I Feel Your Love, demonstrates the intricate, guitar picking style that she’s become well-known for, further mastering her skill as both a gifted musician and songwriter. Is this sounding like the most biased piece of writing ever? I tried to write this last night but had to go to bed with a flannel on my forehand because:

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“She’s just everything.”

The track ‘Strange’ has Laura RAPPING (almost) which sounds really fresh and feels very inspired by her time spent in LA. There’s something a little Kimya Dawson about the spoken-wordiness of it all, The Moldy Peaches being a band I’ve read she’s felt influenced by. The open chord sounds she reverts back to in this song hint back at her third album, A Creature I Don’t Know, which took a lot from Joni Mitchell, whom I love, too.

For me, Don’t Let Me Bring You Down is a huge stand-out track, for no other reason other than: I just keep playing it.

“Are you really not anybody until somebody knows your name?” – how wonderfully concise yet right on the spot.

This song has made me bookmark electric guitars on eBay, with lots of 7th chords and blissful Sunday-appropriate progressions. Five years later, I’m still buying my guitars based on where Laura Marling is musically.

Gurdjieff’s Daughter, track 8, is a song that I can imagine a band like Belle & Sebastian covering. There’s something about the wide, orchestral sound that would suit Stuart Murdoch’s voice perfectly, combined with a cheesy fade out at the end. Still very much sounding like her, but a very pleasing shift in direction.

Track 9, “sending shivers down my spine” is Divine, and is divine (ha ha, writing!) Being raised on early-mid Beatles, my head swoons at any seventh chord, especially in a love song: “You’re fine – I’m yours and you’re mine.”

All in all, the real sentiment of this album is summed up on ‘How Can I’ with: “I’m taking more risks now / I’m stepping out of line / I’m putting up my fists now, until I get what’s mine.” She also sings on the track about “going back east where I belong” which makes me feel like pinpointing her directly and welcoming her back with my very own open arms, right into British festival season that’s approaching at a very exciting pace. I look forward to seeing her at this year’s End of the Road, my third time at the Dorset festival, where I’m sure she’ll bliss me the hell out and I’ll feel particularly lucky to be alive for an hour amidst yurts and frozen yoghurt tents.

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Short Movie is a total success; I’d give it 4.5/5 for its confidence and ability to both empower and reveal vulnerability all at once – something Laura has become expert at – as heard in her past 4 albums. She said in an interview recently that as a teenager she was often branded as ‘elfin’, ‘innocent’ and ‘good for her age’ – but this record proves she is, oh, SO, much more than that. SO much. Can she be my sister? I’ve always wanted a sister.

If anything, this review shows that I can sneak the word ‘flabbergasted’ into a piece of writing, (no mean feat, I assure you!) – my first ‘proper’ music review – one of which I hope will be the first of many.

~mid week music~

Every week on a Wednesday I’ll post 3 things I’m listening to (because really I’m super lazy & I refuse to write a post for the sake of it! I don’t think you deserve to hear my writers block angst posts X )

1. Laura Marling- Once

2. Richard Hawley- Cole’s Corner (I will eternally have a crush on this guy)

3. And, most importantly, Suede- in 1997. I saw them a few weeks back and Brett remains impeccable.

Like/comment if you want me to read your blog (I’m not being selfish, I’m just struggling to navigate around this thing. I’ll write soon.)

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