Ben Stiller reprises his role as a former model in a throwaway but amusing sequel
London WC2 12-Bar Club
Her key influence, plainly, is [B]Nick Drake[/B] (especially resonant in the lulling [B]'Leazes Park'[/B] and spectral [B]'Night Come'[/B]), but there are also whispers of [B]Belle & Sebastian[/B],
Williams' minimal guitar sketches and slow, placid delivery weave a billowy web of calm. Her voice, in places uncannily like Beth Orton's, and underscored by cello, is both little-girl coy and urbanely composed. Her key influence, plainly, is Nick Drake (especially resonant in the lulling 'Leazes Park' and spectral 'Night Come'), but there are also whispers of Belle & Sebastian, Joni Mitchell and PJ Harvey in her emotive, yet undemonstrative, cadence.
Before she finishes her set with a cover of her "hero" Leonard Cohen's 'Hallelujah', she looks up in surprise, having just noticed the faces peering down on her from the balcony. "Oooh!" she exclaims, genuinely startled. "There are people up there!" She'd better get used to it. Even if she refuses to court the commercial, there will be those who - in thrall to these magical songs - will never let her out of their sight.
It’s not quite the superhero film revolution we were promised, but it sure as hell is entertaining
Zachary Cole Smith has overcome a multitude of problems to make this intensely powerful album
The film adaptation of R.L. Stine's classic horror novels is shockingly enjoyable
A defiantly bangerless take-me-seriously-as-an-artist album that reveals new charms every time you spin it