Tag Archives: Cambridge

Various Artists : Cambridge Calling Volume 5, released 23 July 2021

Compiled by renowned Cambridge105 DJ Dave Hammond, Cambridge Calling Vol 5 is a new and varied compilation of tracks from musicians based around the Cambridge area, with proceeds going to Cambridge Aid | Helping local people in financial crisis since 1880

  1. BansheeVa – Janus. The title character can be described as ‘….god of beginnings, gates, transitions, time, duality, doorways, passages, frames, and endings…’. That just about sums up the mind-expanding pathways of this jumpy psychedelic instrumental extravaganza.
  2. Death To Slow Music – Pressure. Two minutes of minimalist punk single line bass and guitar erupting into an explosive chorus.
  3. People Look Like Dogs – Allan Thinks We Don’t Move. Probably the best combination of band and track name on the album for this untamed cacophony of guitars, drums and wild vocal.
  4. Jaymotts – Love Paralysis. Retro jazz-funk, sounding enigmatically timeless.
  5. Collars – Hey Lizzie, Lay It On Me full review here
  6. Creepy Neighbour – The Optimist. Striking but slightly disturbing piano-led ballad featuring a strong vocal from Max Taylor along with lush string stylings.
  7. Naomi Randall – Cabbage White. Lovely indie folk; evocative and effortless with the acoustic guitar adorned with other subtle instrumentation and echoing voices to frame Naomi’s sublime vocal.
  8. Dom Howard – Cascade Mix. Like a coda to the previous track, a sparkling guitar chimes out a repeated riff over the lightest of jazzy backing before an introspective solo.
  9. Lady Birdface – (I’m Gonna Give You) The Clap. DIY pop splendour from creative multi instrumentalist and songwriter Kate Shore, full of barbed edges and sparse couplets ‘…don’t you look too close or you’ll feel morose…’
  10. Sunday Driver – Time Machine. Classy acoustic steampunk fusion and sinuous vocal whisks the listener into a cabaret club of the future.
  11. Percy Black – Code Name Covid-19. If you need reminding about the subject, this is as pleasant way as it could be, super-smooth reggae with golden-voiced lead and backing vocals and laced with brass and sax; the messages are clear, ‘….give the scientists the wisdom to eliminate Covid-19….’
  12. Tom Bainbridge – Nocturne. All-acoustic multi-layered piece, built around a gently swinging pendulum rhythm and a chorus of voices.
  13. Keith Somerville – Red Angel. A loosely structured prog-psych song pulls the listener into a spiral of mellow musings, interrupted by a surprise electric solo.
  14. Helefonix – Song Thrush Serenade. Pure atmosphere of delight here as sampled birdsong tonally competes with the semi-ambient electronics.
  15. The Routine – Come Knocking At My Bedroom Door. Strong rock-pop anthem from Cambridge/London quartet with the upfront vocal and musical intricacies giving way to a huge chorus.
  16. Star Pixel – The Circle. full review here
  17. Shambertans – Wallflower. Likeable summery pop song driven at pace by the rhythm section and a busy guitar.
  18. The Mardlers – Mad To Live. Full of desperate punk-fuelled energy; the as-live sound pushes all before it through continual musical changes..

Volume 5 – German Shepherd Records

Cambridge Calling Volume 5 | Various Artists | German Shepherd Records (bandcamp.com)

Fuzzy Lights : Burials, LP released 2 July 2021

A new LP from Cambridge folk-psych collective Fuzzy Lights delivers on many levels. Opening track ‘Maidens Call’ threads a contemplative vocal over a loping bass line with violin interludes, but it is the second track ‘Songbird’ that opens the consciousness into a ten minute psychedelic workout, full of energy, colour and a voice that inhabits the darkness.

‘Graveyard Song’ strips the sound back into a sinister medieval acoustic ballad gradually building into a big instrumental coda. There is so much going on in this excellent album, like the languid interlude and speculative history of ‘Haraldskaer Woman’ contrasting with the sweeping folk-rock momentum of ‘Under The Waves’. ‘Sirens’ is possibly my favourite; with the descending chord sequence, timeless and mysterious vocal, dissonant chorus and enough noise to lose yourself in.

Ending with the ‘The Gathering Storm’, using all of its nearly seven minutes running time to build atmospheric musings over a persistent bass note this album pulls you in for an unchartered musical journey….

Welcome to Fuzzy Lights

Fuzzy Lights (bandcamp.com)

R.J. Archer & The Painful Memories : ‘Who Am I Supposed To Love Now?’, single released 14 June 2021

From the angst of the band name to the opening tension of the lyric, ‘…tell me I been walking a thin line…and I’ll be towing it as soon as you say…’, R.J. Archer & The Painful Memories are back with a blistering burst of troubled blues rock. Last heard from on their self-titled EP from 2019 (reviewed below) featuring the edgy majesty of lead track ‘It’s Snowing In Hell’, this new release is a forerunner to their delayed debut long-player ‘Hot Mess’.

A punchy, up tempo cut from this Cambridge trio, ‘Who Am I Supposed To Love Now?’ is firmly rooted in the groove of the sort of cool and credible blues-infused record that would appear regularly and successfully in the pop charts of the late 1960s and 70s. It is a summary of lovelorn discontent set to sparse instrumentation, emotionally raw vocals and featuring twisty guitar links, a roving bassline and drums always on the verge of being fully unleashed. And, of course, all in less than three minutes…

R.J. Archer & the Painful Memories | Facebook

R.J. Archer & The Painful Memories, EP released July 2019 | cambridgemusicreviews

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Apteekii : What’s Real?, single released January 2021

The debut single from Cambridge band Apteekii starts with a gentle but moody piano punctuated by restless electronic pulses. The lyric soon sets the tone of the message of this track with the bleak ‘….just another Saturday…as you scream into the void…..alI I hear is birds that tweet….’. It is portraying a swirling mix of the pernicious influences of fake news, distorted messages and the exploitation of negative social media. This is chillingly shown by the infamous comments that scroll behind the song words within the video.

It is not all downbeat – despite the despairing ‘….the more I read, the less I see, the less I understand…’ of the chorus the music sounds more optimistic. It is lifted by layers of synthesiser with a rich cello sound and there are glimmers of hope; ‘…so be my guide…to know what’s right…before it’s washed away…’ could be a fragment from a tender love song.

This is a complex, immaculately produced and thoughtful debut from this talented trio.

Apteekii | Facebook

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The New Fools : Papillion – The Complete Lock Down Sessions, LP released September 2020

Cambridge band The New Fools have continued to consistently produce and perform new music in recent years and have not been stopped by a pandemic; with a combination of back and forth recording technology and determination they recorded a succession of singles through the lock down which are now collected on this new mini-LP.

As always with their work there is a variety of styles showcased here; the rocking ‘Solowly’ is heralded by a fuzzy guitar riff which gels the sections together on this comment on wealth and happiness, while ‘Sunday Night’ is a gentler, dreamy lyrical meditation from a nostalgic musical narrator featuring an empathetic guitar solo and flugel horn. ‘Another Way of Thinking’ is a languid companion piece to an earlier track, contrasting with the dynamic pace and urgency of imaginary film theme ‘Witch’.
‘Nothing Toulouse’ is a thoughtful melody and guitar line driven pop song with hints of the psychedelic tone that used to thread its way through 60s chart songs. ‘Old Bones’ features some rich sustained Hammond organ notes and a shade of Bob Dylan in the delivery and timing of the lyric phrases, followed by the joyous skiffle minimalism and even some whistling on ‘D.N.S.’

So far there has not been much direct reference to the strangeness of recent times but on longer track finale ‘We’ll Meet Again’ (not the Vera Lynn ‘classic’!) aspects of this theme are covered, accompanied by a discomfiting drum and piano waltz. The flugel horn makes another welcome appearance then eventually the song ends with a reference to the Beatles world-unifying song ‘All You Need Is Love’ with massed vocals and the richness of the instruments brought to the fore too.

https://www.thenewfools.co.uk/

Various Artists : Now That’s What I Call The Portland, LP released May 2020

A compilation of tracks by Cambridge-based bands old and new, curated by Ian Perry of Aaahh!!! Real Records, the aim being to help financially support much-loved pub and music venue The Portland Arms through these difficult times (see link below!).

1. The Portland Brothers – Invisible Love. Poignant, acoustic country-folk from a band named and formed after a meeting in the venue.

2. The Judge Reinholds – Stars and Satellites. Distant musings take their time to erupt into an impressive onslaught of spectacular noise.

3. Grieving – Bow and Arrow. Continuing the noisy theme and capturing their distinctive live sound, this restless rocker is punctuated by more contemplative interludes.

4. The Baby Seals – Vibrator. Contributing one of their supreme tracks, the mighty trio deliver a concise and singalong powerpop single.

5. Old Man Boom – No Longer Alone. As a contrasting backing to the affecting vocal, the waltzing banjo takes on a life of its own before the whole band crashes in.

6. Model Village – Eulogy. A wistful new track from the much-loved Cambridge collective. As always the voices, acoustic and electric instrumentation are an irresistible combination.

7. B-Sydes – Good Times. With a committed vocal performance pushed on by pure band energy, the track continues to build the momentum to the end.

8. Goldblume – Husk [Live]. One of the rock trio’s best tracks; complex, edgy and rewarding as it twists unpredictably.

9. Beverley Kills – Walk With Me. Blistering introduction, razor sharp sound, machine-gun drumming, strange abrupt middle eight and a vocal soaring above all. Unbeatable.

10. Freedom Faction – What’s it All About? According to their bio the band ‘… inject liquid punk directly into your brain via your earways…’ Agreed.

11. Heartwork – The Used. Roving softer-rock track, the complexity of the musical structure and a passionate vocal gradually pulls the listener in.

12. DoYouThinkHeSaurus? – Lipstick Teeth. Experimental punkish brooding guitar keeps you guessing until the chorus hits home.

13. Mammoth Penguins – Dick Move. Taken from their brilliant 2019 album, the trio deliver a short, precise slice of emotional angst. Powerful, catchy and possibly my favourite on this collection.

14. Just Tom & Pete – Sweet Ass Voice. A gentle meandering with spoken word, acoustic guitar and a winning emotional intimacy from this unassuming duo.

15. The Pony Collaboration – Close Enough. Last seen in Cambridge supporting The Wave Pictures, this easy-going ensemble were a real treat to hear, with tracks that roll along like this pop-perfect meditation.

16. The Travis Waltons – Year of the Snake. With a third album due out soon, the trio remind us how well they can structure a single as the distorted guitar riff and the emotional disappointment in the voice drive towards a chorus line that will stick in your brain.

17. The Grey – Silent Man. Dense layers of guitar and drums introduce this rock epic, the trio make no compromises and take their time delivering this doom-laden but thoughtful anthemic finale.

https://theportlandarms.bandcamp.com/album/now-thats-what-i-call-the-portland
http://www.theportlandarms.co.uk

The New Fools : Mershmellow, LP released April 2020

The second album from Cambridge-based band The New Fools; again it is a mixture of styles, textures and well-crafted song writing.

1. London ’66.
A melancholy waltz to open the collection, swirling acoustic guitar and plaintive piano for a biting lyric ‘….winter ’66, a cold London street disturbed from its dream by the sound of a woman’s scream…’

2. The House of (Having) Fun. A Northern Soul stomper, the lyric celebrating nothing specific ‘…and I feel like a mystical man selling dreams from the back of a van….’ but acting as the glue for a perfect pop song structure.

3. Summer Rain. The pace of the band drives this mini road movie along, the meditative recollections of the vocals drifting above the rhythm guitar, organ and spirited drumming. ‘…autumn leaves fall from the trees…settling around my feet…sweet memories…’

4. The Story 0f Me.
40 years of biography in three and a half minutes, the waltzing carousel sound given extra emotional resonance by guest folk-infused violin, a brilliant counter to the disappointment expressed in the words, ‘…now I’m 50 years old I can hardly breathe for the weight of the guilt and the shame that surrounds me…move on will you please there’s nothing to see….’

5. Model Village. This could be a diversion for the character in track 4, spending many hours building a model village as a metaphor for escape. It solves nothing, after all ‘…what you gonna do when the rain comes…what you gonna do if it pours….pick up the pieces and start all over again…’. The band don’t let up in their intensity until a sombre coda that fades into birdsong.

6. Something About Jane. Suspicions about the breakdown of a relationship infuses the pounding rock momentum with a paranoia from the narrator. Another viewpoint is presented in a surprising reggae section, before the doubts re-establish.

7. John Candy Talking. A strident punchy anthem that musically unlocks a bit of REM and glam rock in memory of a largely forgotten cult actor as a metaphor for emotional confusion ‘….I’m going round in circles without you…I can’t help the way I’m feeling….the modern world is not forgiving…’. This track was pre-released as a single earlier in the year.

8. I Got on a Train. I’m not sure that the railway ticketing system allows for the random sense of escape that this track inspires ‘….I got on a train don’t know where it’s heading…anywhere is fine…I got nowhere to run but I’ve a ticket to ride…’ but it is a thoughtful and well-judged finale to this richly creative album.

https://www.thenewfools.co.uk/

Bouquet Of Dead Crows : Hemispheres Part 1 – Celestial, EP released April 2020

The new album ‘Hemispheres’ (a homage to the classic Rush LP?) from Cambridge “Sci-fi Alt Rock band” Bouquet Of Dead Crows is to be issued in two parts; ‘Celestial’ now then ‘Cerebral’ to follow….

1. Terraformer Scary doom-laden introduction, a barren planetary landscape of distant guitar effects…

2. Before The Storm I think the storm has already arrived at the start of this track, then it goes a bit jazz-influenced interspersed with the heaviness through a packed two and a half minutes.

3. Caged The clear and strong vocal rides over a synthesiser guitar backing, duelling with the threatening purity of the full-on rock sound, suddenly unleashed towards the end of the track.

4. Left To Rot Featuring one of the most dynamic introductions I have heard for ages, this previously released song pushes all before it, with the explosives that this band can unleash with ease. I don’t know how anyone can play the drums that fast. It pauses occasionally with a 70s prog rock interlude.

5. Kaiju Hijinks With the listener exhausted from track 4 this new single maintains the pace and energy. The title refers to the Japanese film genre and the accompanying video stars Godzilla and the unfeasibly powerful Mothra. As the super-deep bass drives the sound the drums and guitar take on the monsters.

6. Hemispheres Martial drumming sits beneath some deceptively gentle verses and noisy prescient chorus ‘….it’s not the end of the world…this time…‘ Trading the rockier conventions for a more anthemic sound, with each of the instruments and voice given a chance to individually shine this is a multi-sectioned complex and rewarding track.

https://www.bodc.live/

Tape Runs Out : Sleepwalking Into A Fire, EP released February 2020

Creative indie experimenters Tape Runs Out release an excellent new EP, a companion piece to last year’s ‘Talking Through The Walls’.

The Cambridge-based septet have an armoury of sonic flavours they can employ, but can still play  more conventional synth-rock as on opening track ‘Train Toy’. A waterfall of random sounds gives way to a stunning bass-driven chord progression; over this lushness a partly disembodied voice weaves strange, paranoid  imagery. The instruments come and go (especially a roaring guitar sliding up and down octaves) over a spectacular, relentless but soothing six minutes.
A bit like an epic song by The War On Drugs, or a journey travelling on water, it takes the time to do what needs to be done.

‘Anklebone’ is a much shorter psychedelic interlude, but like the following track ‘Children Will Dance’  there is a pulsing power produced by this talented ensemble.

‘Into The Sea’ is built around an urgent guitar figure (or is it the hammered dulcimer that they use later in the track?), tempered by some rich synths and violin. There is a melancholy in the lyrics on this pivotal song, ‘…maybe I’m optimistic…or maybe I’m sleepwalking into a fire…’

A repeating bass note beneath a treated violin heralds baroque chants and progressive rock moodiness in ‘Even Colours Follow The Rule’ then finale ‘Flowers’ is a calming meditation to bring this generous (twenty-six minutes) and accomplished EP to a satisfying conclusion.

https://www.taperunsout.co.uk/

Salt House, Storey’s Field Centre, Cambridge, 15 March 2020

Storey’s Field Centre in the new settlement of Eddington near Cambridge welcomed folk trio Salt House.
The clarity of the acoustics and the lofty church-like structure were an ideal setting for their haunting, celebratory music – conjuring images of stark but beautiful landscapes from the Scottish islands where they record.

Opening song ‘Turn Ye to Me’, “a tale of a baby stolen by a sea monster and replaced by a changeling whilst her mother gathered seaweed” is a new interpretation of an existing poem; immediately the music and voices on this and the following ‘Lay Your Dark Low’ set the tone for the evening. With acoustic guitars, a Gretsch hollow-body electric twelve-string, violin, viola and an indian harmonium the instruments were as lovely to look at as to listen to.

Imagine seeing hump-backed whales and orca off the coast then the northern lights in the sky, top it off by writing the gorgeous ‘Old Shoes’, with its fast guitar picking, relaxed harmonies and a lustrous violin solo and you have a perfect song to go with the ideal day.

Over the course of two sets they played many songs from their 2018 album ‘Undersong’ as well as all the tracks from their new long-player ‘Huam’ (the call of an owl), released at the end of the week. Each song was introduced and explained, drawing the audience into the rewarding layers of this rich musical genre.

The band feature the history and folklore of traditional Scandinavian and Scottish themes such as ‘The Sisters’ Revenge’; an epic seven minutes built around the recurring words ‘…the summer comes the summer goes…the grave of my father green grass grows…’. The words and music built the tension as the title characters prepared for the gory final act ‘…they hacked him into pieces small…’.

There were more contemporary reflections too; ‘All Shall be Still’ ties in the tedium of work routines with thoughts of escape and the timelessness of the natural world, also evoked in ‘Mountain Of Gold’ and ‘Staring at Stars’. Musically there was plenty to gently immerse yourself in but there was also darker, sombre moods such as the hypnotic dream of ‘The Road Not Taken’ with pulsing rhythmic guitar and soaring violin.

It was a warm, flawless and brilliant show.

http://www.salthousemusic.com
https://www.hudsonrecords.co.uk/
https://www.storeysfieldcentre.org.uk/