Synonyms for hocknell or Related words with hocknell

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Examples of "hocknell"
Dean Hocknell is a fictional football (soccer) player who appeared on the British drama "Dream Team", about the equally fictitious Harchester United. He is played by Darren Morfit.
"Things Are What They Used To Be" was met with positive, yet mixed reviews. While Neil Condron from "Clash" magazine argued that "they've reworked their own template," others claimed the exact opposite, for example Tom Hocknell from BBC Music, who said that their music "remains platitudinal electro."
Moriftt was born in Hartlepool, England. After finishing his A-levels at Hartlepool Sixth Form College, Morfitt went to Mountview Academy of Theatre Arts, London and learned his trade. He graduated in 1997 and won his first major television role as Dean Hocknell in the football drama "Dream Team".
In 1774 a revelation led her to take a select band to America. She was accompanied by her husband, who soon afterwards deserted her. Also following her to America were her brother, William Lee (1740–1784); Nancy Lee, her niece; James Whittaker (1751–1787), who had been brought up by Mother Ann and was probably related to her; John Hocknell (1723–1799), who provided the funds for the trip; his son, Richard; James Shepherd, and Mary Partington. Mother Ann and her converts arrived on 6 August 1774, in New York City, where they stayed for nearly five years. In 1779 Hocknell leased land at Niskayuna, in the township of Watervliet, near Albany, and the Shakers settled there, where a unique community life began to develop and thrive.
O'Neill signed for Harchester as a free agent after being released by his hometown club, Liverpool. He became the bearer of practical jokes during his arrival at the club, mainly from team mate Sean Hocknell. However, Billy soon fitted in at Harchester and made a significant contribution to their Premier League survival in 2000 as it was Billy who won the last-minute penalty against Tottenham after being brought down by goalkeeper Ian Walker.
Musician and sole member of Penguin Prison, Chris Glover, had already made several attempts to get into the music industry before founding Penguin Prison. He first became known under this moniker for his, in the words of BBC Music's Tom Hocknell, "immaculate" remixes. Glover's debut release as Penguin Prison was the "Animal Animal/A Funny Thing" EP in 2009, with the album "Penguin Prison" released on the 5th of September 2011.
Having supposedly received a revelation, on May 19, 1774, Ann Lee and eight of her followers sailed from Liverpool for colonial America. Ann and her husband Abraham Stanley, brother William Lee, niece Nancy Lee, James Whittaker, father and son John Hocknell and Richard Hocknell, James Shephard and Mary Partington traveled to colonial America, and except for Abraham Stanley who remarried and settled in Watervliet, New York. Her vision of the Shakers in America was represented in a vision: "I saw a large tree, every leaf of which shone with such brightness as made it appear like a burning torch, representing the Church of Christ, which will yet be established in this land." Unable to "swear" an Oath of Allegiance, as it was against their faith, the members were imprisoned for about six months. Since they were only imprisoned because of their faith, this raised sympathy of citizens and thus helped to spread their religious beliefs. Lee, revealed as the "second coming" of Christ, traveled throughout the eastern states, preaching her gospel views.
Upon its release, "Take the Crown" received generally positive response from most music critics, based on an aggregate score of 65/100 from Metacritic that indicates "generally favourable reviews". Tom Hocknell from BBC Music gave "Take the Crown" a favourable review. He said that "The presence of producer Jacknife Lee demonstrates that Robbie's search to replace Guy Chambers and Steve Power has grown less urgent and more interesting". Hocknell felt that the album comes to life "with 'All That I Want' and the hypnotic 'Hunting for You', while 'Into the Silence' is evocative of The Joshua Tree-period U2". He also felt that "Take the Crown" finds Williams "sounding rather too serious, rather too often. It's safe, something of a retreat from past endeavours to a sound more suited to commercial returns in the present". Andy Gill from "The Independent" gave the album three stars (out of five). He said that the album was "crafted with great skill, Williams and producer Jacknife Lee turning their hands to a range of styles". Gill mentioned influences such as U2 (on "Into the Silence" and "Hunting for You") and Plastic Bertrand (on "Hey Wow Yeah Yeah") as well as The Bee Gees in terms of songwriting.
The album was released to generally positive reviews. Tom Hocknell of BBC Music notes that the album is "an entertaining showcase of the New York producer/remixer’s talents" and that the album is also "a strong and entertaining calling card, albeit not an album that flows as smoothly as it might, demonstrating Penguin Prison has more to offer than fantastic remixes." Andy Peterson of also gave the album a generally positive review, stating that "New Yorker Chris Glover is clearly well schooled in the machinations of the pop game" and concludes that "Penguin Prison is flawed that way, but it still has a beautiful body, and it still wants to hold it against you. Let it."
"NME" writer Rick Martin, despite hearing "flashes of their previous class" proving "they haven't completely lost their confrontational electro-rock streak", considered too much of it "pedestrian, anodyne and utterly unremarkable", and wondered "why they ever ditched the near-perfect mid-'90s FM rock of "Stupid Girl"." "BBC Music" writer Tom Hocknell felt that the band's relocation to L.A. made "no discernible difference to the band's sound" but that "despite occasional lapses into overproduced mess, the surprise here is their enthusiasm." Similarly, Jamie Carson of "Clash" disapproved of the production, calling it "pompousness" and "annoying", and Mark Davison of "No Ripcord" remarked that "for all the interesting noises that the band have come up production really doesn't do them any favours, cramming them into a fairly narrow space and stripping them almost entirely of any sense of atmosphere", concluding that the album is nonetheless "enjoyable, and will probably go down better than their last two releases."
The song received a positive review from "Digital Spy" reviewer Nick Levine who gave the song four out of five stars. He wrote, "Cole's no Leona of course, but she more than holds her own vocally as she delivers an extended and just-slightly-strained love-as-h20 metaphor." Adrian Thrills of the "Daily Mail" noted that it "builds from an acoustic introduction into a beguiling, trip-hop ballad that is perfectly suited to Cole’s plaintive voice." Critics questioned Cole's effectiveness as a balladeer. "The Guardian"'s Maddy Costa criticized the song's "lacklustre quality exacerbated by Cole's weakness as a balladeer and her (understandable) difficulty injecting feeling into a love song." Tom Hocknell of BBC Music wrote, Cole "loses focus with The Flood, stretching a shipwreck analogy over an uncomfortable four minutes." Luke Turner of "NME" gave the song a negative review comparing it to "a flood of stool."
"The Most Incredible Thing" received mixed to positive reviews from music critics. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album received an average score of 66, based on 7 reviews, which indicates "generally favorable reviews". "The Independent"s Andy Gill called the album "stylistically wide-ranging" and stated that "this second foray into theatrical composition [...] is vastly more adept [than "Closer to Heaven"], involving the deft interweaving of electropop and orchestral elements within a series of impressionistic tableaux sketching out the theme of conflict between creativity and destruction." PopMatters' John Garratt opined that "somewhere between Tennant and Lowe's writing and Helbig's arrangements, there are some subtlety interesting things going on here." He continued, "It's doubtful that anyone will be humming the themes of "The Most Incredible Thing" in the future the way people can hum "The Nutcracker" today. But Neil Tennant and Chris Lowe sure do know their stuff." Lauren Murphy of "The Irish Times" noted that the score contains "numerous formal classical interludes, but it's the iconic duo's own distinctive disco/electropop sound that's branded most heavily on this score", adding that "[i]t's off-putting to hear such distinct worlds colliding, but also startling, oddly compelling, and undeniably ambitious." BBC Music critic Tom Hocknell commented that the album's "minimal orchestration never drowns the listener; strings sweep and chords portend, without any track outstaying its welcome." Hocknell also believed that it "doubtlessly works better as a full performance, but as a stand-alone soundtrack has wonderful moments nonetheless."
Harchester United prepare to take on the Championship, 1st team Manager Frank Patcham takes on Andy Ansah as his Assistant. Frank Patcham brings through his best players from the academy and is given 10 million to invest on new players. The season is very inconsistent for the dragons as they are up and down the table all season. Dragons legend Ken Hocknell (Father of Dean and Sean and Grandfather to Shaun and Samuel) dies of a heart attack in March 2014, the club and fans are in mourning for 1 of the Dragons greatest goalscorers in history. Unfortunately Harchester finish in 9th position and not managing to get a place in the play offs.
Lewis Corner of Digital Spy gave the song 4 out of 5 stars, writing that "'Candy' doesn't touch the dizzying heights of 'Rock DJ' or 'Angels', but it's also far from his worst song to date." Corner also wrote: "Robbie chants on a bouncy, playground chant of a chorus brassier than his stage persona – and there within lies the charm." John Bush of AllMusic wrote that "The trailer single 'Candy' is a trite, uptempo track with a sing-song chorus but not much of a shelf life, it's the perfect radio hit." Sam Lanksy of Idolator wrote the song "is sprightly and spunky with a clever hook — arguably the best sweets-related diss since Annie's 'Chewing Gum.'" Tom Hocknell of BBC Music called it "catchier than Velcro, although it’s unclear why anyone needs to own it – after the second listen it owns you. It’s eager to please, certainly."
The song received positive reviews from most music critics. Jon O'Brien of Allmusic wrote that "on the warm and melancholic multi-layered trance of 'Not Giving Up on Love', she shows her Ibiza soundtrack days aren't as far behind her as first thought." Tom Hocknell of BBC Music commented, "The album’s purple patch continues with Van Buuren’s uplifting Not Giving Up on Love, which sounds like Chicane at the gym." Lewis Corner of Digital Spy awarded it four out of five stars, writing "The result is a club thumper more fabulous and heavy than a Big Fat Gypsy wedding dress." Robert Copsey also of Digital Spy called it "a club-thumping collaboration with superstar DJ Armin van Buuren." Clixie Music called it "typically Sophie, an anthem-driven track." Sputnikmusic's staff wrote that "the song exist only to excite. It's a sleeper club hit just waiting to happen."
Helen Latham (born 2 March 1976, in the UK) is a British actress. She is best known for playing Lucy Milligan in series 4 and 5 of the British TV drama "Footballers' Wives" and in series 1 and 2 of its spin-off "". She has also appeared in many other popular UK television shows, including "The Bill" (Christine Weaver), Brookside (Jayne Ferris), Cutting It (Shania Tonks), Dalziel and Pascoe (Sally Craig), "Dream Team" (Natalie Hocknell) as well as the film "Sex Lives of the Potato Men". Starred as Dinah in the roller-skating musical "Starlight Express" and is a winner of "Stars in Their Eyes" celebrity special, where she performed Dolly Parton's "9 to 5". Latham now stars in an advert for The Stroke Association posing as a victim of a stroke.
Francis Charlett, rector of Great Brickhill, Buckinghamshire, died in 1653; Mead hoped to succeed him, but the patron, John Duncombe, presented Thomas Clutterbuck. Mead, on the ground that the patron's right had lapsed, obtained a presentation under the Great Seal. Duncombe appealed to the law, and a verdict for Clutterbuck was given at the Aylesbury assizes. Mead began another suit on the plea of Duncombe's malignancy. Clutterbuck resigned his title, and Duncombe, in July 1655, presented Robert Hocknell, whom the ‘commissioners for approbation’ (triers) rejected, putting in Mead by aid of a troop of horse. After some violent proceedings, the matter was compromised by Duncombe's agreeing to present William Peirce, a nephew of Hugh Peters. Mead now became morning lecturer at St. Dunstan's, Stepney, the afternoon lecturer being William Greenhill, who held the vicarage. He lived in Gracechurch Street, and was admitted a member, on 28 December 1656, of the congregational church formed at Stepney by Greenhill in 1644. On 22 January 1658 he was appointed by Oliver Cromwell to the ‘new chapel’ of St Paul's Church, Shadwell.
"Messy Little Raindrops" received mixed reviews from music critics. A predominantly positive review came from Jon O'Brien of AllMusic who awarded it four out of five stars, saying that ""Messy Little Raindrops" is a cohesive and adventurous follow-up that will undoubtedly continue [Cole's] ascent into pop's premier league", and praising the songs "Promise This", "Amnesia" and "Happy Tears". Tom Hocknell of BBC Music was generally positive, labeling "Messy Little Raindrops" a "competent and frequently enjoyable pop album." Johnny Dee of Virgin Media noticed that with "Messy Little Raindrops" Cole is "returning to base" and described it as "good, clean, family-friendly fun". The "Daily Mirror" also gave three stars, noting an improvement from "3 Words" as well as Cole's perseverance. "Daily Mail" also gave the album three stars out of five; the article praised Cole's vocals, but said "as she strives to find a niche for herself as a solo artist, Cole is suffering from an identity crisis." Critics noted a large amount of filler. Lisa Wright of Dotmusic said, "if there are no hooks, no catchy melody or at least something to put a swagger in your step then you're left with a song that's lyrically obvious and musically banal - and no-one wants that [...] Of course it's not all bad and 'Messy Little Raindrops' still shines with moments of pop brilliance."
"The Guardian"s Caroline Sullivan commented that "though the duo now incorporate spasms of grotty, Nine Inch Nailsy guitar [...], "Exile" is still defined by its synth-pop froideur", noting that Hurts have "a gift for striding, anthemic choruses that turn even the most overwrought songs into unshakeable earworms." Chris Saunders of musicOMH complimented Hurts for "making stadium sized pop music with a darker underbelly, without forcing it, in the same black vein as Depeche Mode", while remarking, ""Exile" isn't a bad album, and Hurts do what they do well [...] Yet "Exile" is found wanting when they try too much to be the stadium band rather than allowing the drama to play out." Tom Hocknell of BBC Music opined that, although "Exile" "occasionally takes itself so seriously that it's hard not to smirk", the album "genuinely builds upon its predecessor" and "reinforces the feeling in modern pop that no other group sounds quite as hurt as Hurts." "The Observer"s Hermione Hoby faulted the album for lacking a "killer single" and wrote, "It's all laid on thick—the violins, the choir-sung, stadium-friendly choruses—but the songwriting isn't sturdy enough to hold it all up." In a review for PopMatters, Maria Schurr characterised the duo as "style over substance" and found that musically, the album is "rarely memorable enough". Schurr continued, "No matter how many dark subjects are nested throughout, too often the music on "Exile" falls back into the same old tricks of bells-and-whistles pop choruses and obvious hooks." "Time Out London"s Oliver Keens felt that the album's "poppy moments have become as lazy and humdrum as 'Sandman'", concluding that "too often the desire to directly rival Muse or U2 makes [Hurts] sound lost and featherweight in comparison." John Freeman of "Clash" stated the album "starts brightly", but critiqued that tracks like "Blind", "Sandman" and "The Rope" "[reduce] "Exile" to a chilling example of naked ambition prioritising production style over songwriting substance."
"The Music Fix" gave the album seven points out of ten and said "they get good pinches of understated melancholy and cool European distance." and "The head says there's something rather silly about Sound Of Arrows; your heart and feet will say something different. 'There Is Still Hope' they say. Andy Baber of musicOMH gave the album three and a half stars out of five and said that "The album begins with that 2009 single, Into The Clouds, with its dreamy sentiment of escapism and huge soundscape. The closer, Lost City providing a definitive and poignant conclusion to an album that consistently provokes feelings of wonder, fantasy and nostalgia. Benjamin Hiorns of "Subba Cultcha" awarded the album seven out of ten and said "the duo are obviously enamoured by their source material and are true masters of analogue synthesis. Slowly building rhythm and a whirlwind of vintage synths that rattle through the speakers like fireworks. The tones and textures here almost feel alive. Alasdair Spiv of "So So Gay magazine" gave the album four out of five and invited you into a ‘Voyage’ which takes you on a journey you won’t want to come back from. Spilling over with a sense of wide-eyed wonder, the album intentionally captures the spirit of childhood discovery. Maria Forsström of Metro (Sweden) gave the album three out of five. Tom Hocknell of Rockfeedback gave the album four out of five and suggested that the title, presumably a nod to 1987's Italo-pop of Desireless' ‘Voyage Voyage’, will have some running for the Border (line), but those staying are in for a treat. GLX of The Outhouse gave the album eight out of ten stars and said ‘Voyage is’ a very cinematic album and reminiscent of 80's children's epics such as The Neverending Story. Dominic Spez gave the album ten out of ten and made track-by-track review: ‘Longest Ever Dream’ – there is a Swedish female who adds a very light-hearted, happy vibe to the verses. They really know how to keep a song interesting. They are geniuses. The song basically gets turned on its head and all sounds drop out of the song except for one very dirty and gritty synthesizer... when the other instruments join in, the song has a dark and sad feel, and has now turned into a whole "crying at the disco" affair. ‘Hurting All The Way’ is like a space-age synth ballad. ‘Lost City’ – this instrumental provokes feelings of accomplishment and happiness. Jordan Meehan of "EQ Music Blog" said ‘There is Still Hope’ feels as if you are floating in space, drifting magnificently until some big, demanding vocals enter and snap you back into reality. One of the things that make this song so strong is that it effortlessly fuses together big, booming classical music with electronic music, and it makes for an irresistible combination. Lee Bradshaw of "Clixie" gave the album nine out of ten and said that the album’s experimental electronic pop sound and style commands respect right from the off-set; still maintaining the story-like timeline and structure throughout. Adrian I of "Music-News" gave the album five stars out of five, mentioned the similarity with a few other bands and said that this album has been years in the making, but it is well worth exploring if you like any of the acts mentioned during the review."Addict Music" gave the album four stars out of five and said "I was introduced to Sound of Arrows three years ago, since then they’ve patiently harvested the hype surrounding them, building a unique universe of synth pop and neon music videos. ... The majestic track ‘Ruins of Rome’ makes me sad to think that Sounds Of Arrows will probably never play giant arena concerts, because this song is made for just that." Amelia Heathman of "Forge Today" gave the album eight out of ten and noted the only real criticism that there is with The Sound of Arrows though, is that they walk a fine line between comprehensive electronica and a soundtrack to a light hearted Disney-tween film. In a way they lack the mature sound that other bands in their genre spout. But give them time to develop their sound before even thinking about writing them off as this is a fantastic first offering. Patrick Healy of The Epoch Times gave the album two out of five and called their mainstream electronica not pop enough to trouble the charts and not left field enough for the alternative interest. "The Digital Fix" gave the album seven out of ten and said that this stuff often plays best with good pinches of understated melancholy and cool European distance. Andrew of "Better Than Ya Faves" said they created a classic début that made good on all of the previous promise and set themselves up to become trend-setters in the genre. Andrew Parker of Virgin gave the album five out of ten and mentioned ‘Into The Clouds’ is nice and catchy - but is likely to annoy the hell out you on repeated listens. SirDorian of "Stylish Kids In Riot" gave the album eight and a half out of ten and said The Sound of Arrows have made a mistake in time. ‘Voyage’ could become a hit in the 80's, but not in the Anno 2011 supersaturation with electro/synth pop. Crash of "Electronic Rumors" said ‘Voyage’ is a manifesto of wonderment, a collection of songs that scream out their hope that the world can be a better place. The album dreams of adult problems seen through the eyes of childhood wonder, stripped down to their basic ridiculousness in a metaphor of magical discovery, culminating in ‘There Is Still Hope’ while the albums exit, ‘Lost City’ is an epic cinematic finale. Bob Bardsley of "Popsiculture" gave the album 92 out of 100 and noted "you'll probably be well aware that they have a fairly specific sound. Not everybody will like them - I realise that - but those who do, I'd imagine, will probably really really love the combination of typically Swedish vocals and space-age electronic instrumentals."