Tag Archives: Portland Arms

Wave Pictures, Portland Arms, Cambridge, 4 February 2015

Another strong line-up for a sold out evening at The Portland, starting with Ben Garnet, otherwise known as The Organ Grinder’s Monkey, a regular in Cambridge (and on this site) with his guitar/random sounds/voice/laptop combination. A large audience was already in the venue, reacting well to the electronica, triggered effects and manipulated vocals of hours of painstaking studio crafting being let loose to run free in the live performance. Older songs ‘Testing the Theory…’ and ‘See This Through’ sound as good as ever as does the heavy bass and denser instrumentation of new track ‘False Economy’. Apparently new experiments in stereo are pushing the capacity of the laptop (Bill) beyond its limits but it looks like this creative partnership will run and run.

Five piece Cambridge band Violet Woods are featured elsewhere on this site and it was good to see that their live versions of tracks from the debut album have grown in stature. It was a nicely paced set, contrasting the dark mysteries of ‘Electric Fascination’ with the simpler pastoral pleasures of ‘Here’ and ‘Driftwood Royalty’. The band musically blends moody 12-string electric guitar with bold retro organ notes as second guitar, bass and drums all make a major contribution. The finale of the album and live set is ‘The River’ an epic track with a haunting vocal from Xavier Watkins, then eventually all the instruments break loose, with feedback and the drum kit flayed until it sounds like it is being thrown down the stairs…

The Wave Pictures are a likeable and unassuming trio, their sparse tight sound and onstage interplay creates a captivating and engrossing show. Having formed in 1998, they have recorded many albums as themselves or collaborations with a variety of performers, also they have covered songs by cult outsider American singer Daniel Johnston.
Complex lyrics featuring relationships, domestic trivia, assorted wildlife and name checks of Johnny Cash, Tracey Emin and The Real Slim Shady(!) are delivered mainly by guitarist Dave Tattersall with drummer Jonny Helm leading on some songs. Along with bassist Franic Rozycki the band are accomplished musicians, their trademark indie rock is clear sounding and intricate guitar solos interspersed with busy basslines and solid drums.
There are also departures in musical styles, the polyrhythmic shuffle of ‘Before This Day’ was an early highlight. At times I was reminded of the minimal relaxed sound and lyrical concerns of Jonathan Richman, another live performer with the ability to have the audience losing themselves in his unique musical world. Soon to be released album Great Big Flamingo Burning Moon featured strongly, then the show ended with requests, all warmly received by the very attentive audience.

http://www.togm.co.uk/
http://violetwoods.tumblr.com/
http://www.thewavepictures.com/

Recommendation : The Brute Chorus/James Brute

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I first saw The Brute Chorus when they were one of the many attractions at the Cambridge ‘Wish You Were Here’ one-day festival in 2010. The venue was the pre-expansion gig room at The Portland Arms, the perfect setting for the up-close intensity and involvement of a genuinely original act.

It may have been a conventional line-up of drums, guitar/keyboards and bass but somehow the treated guitar twisted and changed to counterpoint the vocal stylings of singer James Steel. Blues, rockabilly, psychedelia and indie-pop; it was all in there with the added bonus of lyrical mini-operas involving death, classical and mythological characters, somehow given a wry retelling with a musical backdrop as sharp as a flick-knife. Their debut album, recorded in a live setting at the Roundhouse was sold in a hand-made wooden sleeve and it is splendid stuff indeed (standout tracks were the opener ‘Hercules’ and the paranoid brooding of ‘Chateau’. And probably the rest of the album too).

The second CD ‘How The Caged Bird Sings’ was more introspective but equally effective, the tracks ‘Could This Be Love?’ and ‘Heaven’ were both great pop songs. ‘(This Christmas) Bury Me In Hawaii’ was a dark seasonal recording, then another single, a support slot at Shepherds Bush Empire……and suddenly they were playing a ‘final’ gig and saying goodbye to many disappointed fans.

But all is not lost, James Steel has reinvented himself as James Brute, he has new recordings (including ‘Bury Yourself’, with a video performed inside a coffin..?!) and he is playing live again……

Official Site

Violet Woods, Portland Arms, Cambridge, 7 November 2014

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This was the launch party for the new album by Violet Woods, a Cambridge based five-piece led by vocalist/guitarist/songwriter Xavier Watkins. The psychedelic tone was set by DJ Rich Hero, playing very obscure and ultra-cool vinyl singles from the late sixties and early seventies, accompanied by oil slide projections on the ceiling.

The opening act were Riverane, previously reviewed on this site as support to The Hot Lights and moving their sound on into darker territory since then, as the vocals of lead singer Gabriel Coulter twist around the continually varying musical moods.

Violet Woods hit the stage with an instrumental introduction, then straight into ‘Over The Ground’ from their self-titled album. It is a retro sound, lovingly recreating and extending the late sixties pop/rock/psychedelic vibe with some modern edges. On record it is mostly fairly smooth and relaxed but live there is no holding back, with added echo to the voices, over a powerful instrumental backing, such as when 12-string guitar and organ are thrashing away in the ending of ‘The Dancer’. To make a Cambridge early Pink Floyd connection, it is definitely more ‘Interstellar Overdrive’ than ‘Grantchester Meadows’…

Probably my favourite song, ‘Electric Fascination’ is based around an eerie descending 12-string figure, repeating and competing with distant vocals. The guitar wins in the end… The reassuring chord structure of ‘Here’ is a neat pop song, ‘Driftwood Royalty’ is an optimistic dreamy lyric. The epic ‘The River’ ends the set, going through changes before an exhausting instrumental onslaught. It was a great advert for a confident and impressive debut album.

https://www.facebook.com/riverane
https://www.facebook.com/thevioletwoods
http://violetwoods.tumblr.com/

Honeyblood, Portland Arms, Cambridge, 24 Sept 2014

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Following on from a support slot for Courtney Barnett back in May, a triumphant Honeyblood returned to the Portland to headline.
Opening the show were the Cambridge based four piece Beverley Kills, with their pure punk pop, fronted by singer Georgie Guns. Juliette on drums plays some of the fastest rolls I have ever heard, underpinning Kate on guitar and The Colonel Kills..(Elisa)(Good punk name!?) on bass. They play their original tunes, featuring many clever touches, chiming guitar notes building up to an onslaught in ‘Under Our Sleeves’, a bit of acapella vocals and the two contrasting sections of closing song ‘Sticks and Stones’. They are loud and brash, bringing a party vibe early on to the venue, clearly enjoying themselves and with a great rapport with the home crowd.

It was a homecoming gig for Bloody Knees, fresh from their performance at the Reading and Leeds Festival and raising their profile by supporting Honeyblood on all their national dates. Opening with ‘Luckless’ the sound needed sorting out but then was soon resolved and from second song ‘Bury Me’ onwards there was no stopping them. It is fast indie punk rock, presided over by the loud gravel voice of Bradley Griffiths, never giving up its intensity, even over the slower epic ‘Garbage Brain’. They are catchy tunes, you have to like the idea of a song called ‘Stitches’, based on ‘busting my head open when on tour with Wolf Alice’ and the short fast burst of energy that is ‘Ears, Eyes, Ohs and Yous’ has a cryptic title but great drum/guitar lines. It was a good performance, they will soon be headlining more often than supporting I think…

The venue had been quite full all evening, but a few extra squeezed in as Glaswegian duo Honeyblood took to the stage. Opening with the delicious ‘Fall Forever’ the minimal line-up of electric guitar and drums produced a big sound, as is heard on the current self-titled album. Singer Stina Tweeddale has a clear distinctive voice to deliver the songs of relationship making and breaking, at times very dark lyrically. Drummer Cat is new to the band, having only been a member for six days! She handled the pounding rhythms confidently, and also the complex wide open spaces of the challenging ‘Braid Burn Valley’. The normally reserved Cambridge audience generated a bit of crowd surfing for ‘Super Rat’ towards the end, then a persistent fan finally got their wish with a bonus encore of older song ‘Kissing On You’…and then they were gone, they had totally won us over.

https://www.facebook.com/BeverleyKills
http://www.bloody-knees.com/
http://honeyblood.co.uk/

Ringo Deathstarr, Portland Arms, Cambridge, 1 Sept 2014

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I was pleased to see Horse Party from Bury St Edmunds opening this show and as I have said in a previous review they are a trio of confident performers of strong songs, many from their debut album ‘Cover Your Eyes’ (highly recommended…). The mix tonight allowed drummer Shannon Hope to particularly shine, the changing dynamics of the music unleashing the thunder and lightning of her constantly changing percussive power, blending with the two guitars. From a band with no bass, next we had a band with a strong bass presence, high and loud in the mix playing counterpoint lines to the two guitars. This was Cambridge band My Estranged, drawing on the influence of the punk pop sounds of Talking Heads, Wire and Television for their original and interesting songs.
The audience had built up to see the main attraction Ringo Deathstarr, all the way from Austin, Texas and from the outset it was clear there was more to this trio than a clever band name. No fragile indie pop here, it was a mighty wall of sound from the guitar effects of songwriter Elliott Frazer which was underpinned by the bass and the ethereal vocals of Alex Gehring and a great drum performance from Daniel Coborn. I heard echoes of The Jesus and Mary Chain and The Wedding Present in their short tracks, sometimes catchy hooks (‘So High’,’Slack’), sometimes impenetrable hypnotic instrumental passages. The songs kept coming, it was an hour of demanding but rewarding and immersive listening….

http://ringodeathstarr.org/

https://www.facebook.com/myestranged

https://www.facebook.com/horsepartyparty

Allo Darlin’, Portland Arms, Cambridge, 24 July 2014

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An evening of Summer Indie-pop at the Portland opened appropriately with Cambridge based trio The Centimes. They have a distinctive original sound as I have said in previous reviews and the long instrumental introduction to opener ‘Stormy Tuesday’ laid down the template of solid drumming and bass with that stylish 12-string guitar jangling above. ‘La La Land’ showcased a bit of funk guitar and ‘I’m Fine’ and ‘Local Pool’ impressed as usual with strong vocal performances. The venue had filled up rapidly during the set and the band were well received. I look forward to the debut album, with some extra input spice added by The Organ Grinders Monkey..

Next on were the six members of Model Village, an Indie Folk band I had last seen at The Junction as support for Half Man Half Biscuit, not the most likely combination?! On that occasion there was more of an acoustic feel but they have a varying line-up and last night it was mainly electric guitar with excellent piano contributions and some welcome short bursts of harmonica. They also have the options that three different lead singers give and the musical styles vary greatly, from the up tempo opening song ‘Splitting The Risk’ to the mellow ‘Stockholm’ and the emotive ‘Red Chair’. It was a confident and enjoyable performance setting the tone for the headliners..

Allo Darlin’ are a London-based four piece formed in 2010, fronted by Elizabeth Morris. They play catchy guitar based Indie-pop, with involving lyrics drawing on human relationship dilemmas, cultural references (‘Woody Allen’, unfortunately omitted tonight) and reminiscences of Australia. It was generally an up-beat summer sound but listen to the lyrics carefully, there is plenty of darkness and light. The sound quality and instrumental playing were top-notch, like the Smiths with ukulele added to give an extra dimension of rhythm. There were two great interplay songs between male and female vocals, ‘Bright Eyes’ and the exquisite oldie ‘Dreaming’, three and a bit minutes of pop perfection…

The long set was engaging and varied, tracks from the forthcoming album ‘We Come From the Same Place’ to be released in October 2014 slotted in nicely with the more familiar songs. The band seemed very pleased to hear the audience singing along and there was a clever encore, ‘Kiss Your Lips’ segueing into the Paul Simon song ‘You Can Call Me Al’ (including that fast bass run..). It was a great show and from speaking to the band afterwards, the friendly onstage personas are all genuine!

http://www.thecentimes.com/
http://modelvillagethepopgroup.tumblr.com/
http://allodarlin.com/

28 Boulevard, Portland Arms, Cambridge, 19 July 2014

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A hot Cambridge evening for a bill of 4 varied bands at the Portland, the common link being loud indie-ish rock rather than mellow introspection. I only caught the end of the set from opening band Rubber Duck, but as that featured a belting cover of ‘Seven Nation Army’ that seemed to be a good omen for the evening.

Preacher’s Son from Dublin is a rock trio led by bass player and singer Brian Hogan who has been around on the Irish music scene in various incarnations for many years. They are on a short tour of the UK, pleased to be in the presence of the music loving audience of the Portland. They are taut and confident, excellent sound quality and musicianship. A hybrid of Thin Lizzy and The Fratellis?

Cambridge four piece Motor Tapes go from strength to strength, concentrating tonight on their faster, rockier songs. Frontman Paul is relaxed and likeable in front of the enthusiastic audience who are appreciative of the carefully crafted original sounds on offer. These include the excellent, hypnotic ‘Shore’ and ‘Aspirin’, the lively closing song. Their cover of ‘Blue Monday’ gradually appears from the instrumental end of their own song, and with limited use of electronic sounds it is a very convincing performance with metronomic drumming and an aggressive bass tune line on the guitar.

The final act was 28 Boulevard, brash swaggering indie pop, enthusiastic and loud. The five members are obviously committed to their music, powerful drumming backs up the three guitar soundwall and Tim Lloyd Kinnings can deliver the lead vocal with confidence. Their songs are brimming with ideas instrumentally and lyrically and the live sound lived up to expectations, a good end to the evening…
(PS Check out their song ‘Electric Feet’…)

https://www.facebook.com/MotorTapes?fref=ts
https://www.facebook.com/the28boulevard/info
http://www.preachersson.com/

Slow Club, Portland Arms, Cambridge, 16 July 2014

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Opening act tonight were Cambridge 5-piece Fred’s House, with their engaging folk/pop/country blend. Two acoustic guitars, electric bass and cajon (the beat box you sit on) back the two or three part harmonies and the lead vocals of Vikki Gavin and Griff Jameson, shown to great effect in ‘Hold On’. The songs featured roving, sensitive bass lines, some banjo and gentle guitar picking, the music occasionally letting loose to give some extra contrast. The real-life sentiments of ‘Standing Next To Me’ and ‘Fine Life’ struck a chord with the rapidly growing audience and then ‘Beautiful You’ brought the set to a close with its Spanish flavour and changes of tempo. It was a good performance, appreciated by the audience. It was announced that drummer Paul was greatly looking forward to Slow Club and so were we…

Slow Club are Charles Watson and Rebecca Taylor, multi-instrumentalists and vocalists from Sheffield and they have just released their third album ‘Complete Surrender’ this week. The music is not trapped in a single category, the new album is a change in direction from earlier folk-tinged sounds but the range of indie/folk/pop/rock sounds still vary. From the opening ‘oldie’ song ‘If We’re Still Alive’ the talented duo (with added bass and drums) set the tone for an evening of great sounds. They played the whole new album, the crowd were stunned, silent in the pauses in the slow songs, amazed by the Motown stomp of brilliant single ‘Suffering You, Suffering Me’. The album features extra strings and brass but they were not missed tonight in the intimate setting of the Portland. The air conditioning broke down during the show but the effortless cool of the band saw us through. The slow burning blues of the memorably named ‘Queen’s Nose’ and the big vocal of ‘Not Mine To Love’ were two of the many highlights.

They have a coordinated stylish image but any distance that may be perceived from the ultra-cool look is completely removed by the likeable interaction with each other and the audience. A great strength in their performance is the different instrumental combinations and the contrast when Charles or Rebecca takes the lead vocal and shines individually. It was a sensational show, they were brilliant, buy the album and see them soon….

https://www.facebook.com/fredshousemusic
http://slowclubband.com/

The Organ Grinder’s Monkey, Portland Arms, Cambridge, 18 June 2014

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An experimental night at The Portland, free entry and biscuits. Squadron Scramble are a duo, playing keyboard and guitar and totally lost in their music, anonymous to the point of standing in the shadows and not speaking with the crowd. But they didn’t need to, the sound was powerful, adventurous guitar underpinned by sympathetic keyboard, backing tapes and an animated back projection. The overall theme of the instrumental played was flying, from the Second World War to echoes of ‘2001: A Space Odyssey’. It was hypnotic, pulsing, sometimes challenging and discordant but always interesting and the visuals fitted well.

Pete Um has been on the Cambridge music scene for a while but this was the first time I had seen him. Seated at a table like a character in a Samuel Beckett play he speaks or sings over tapes of varying low-key musical styles , most tracks lasting less than a minute. Reflections on relationships, political ideas, war and peace, Cambridge, all a bit random but you keep listening to see where he goes next..

The Organ Grinder’s Monkey is talented guitarist Ben Garnett, inextricably linked to his laptop (‘Bill’), together on a restless quest to alter the form and structure of song. Describing the sound as ‘lo-fi glitch-rock’, he plays guitar and sings, interacting with loops and effects, triggered by guitar, pedals and voice. Audience participation was taken to a new level when one of the crowd was given a controller for a personal real-time mix of one of the songs. In ‘See This Through’ at the end of the set, the staccato bursts of bass and percussion invaded the existing complex structure of melody and vocoder. The ideas are strong, as conventional songs they stand up anyway but the constant diversions and changes sustain the listeners’ interest. Have a listen on Soundcloud, including some intriguing remixes of other peoples songs…

http://www.togm.co.uk
http://peteum.bandcamp.com/
http://www.softbodiesrecords.co.uk/artists/squadron-scramble

Tom Williams and the Boat, Portland Arms, Cambridge, 29 May 2014

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Joe Bell and The Broadway Danny Rose, named after the minor masterpiece Woody Allen film from 1984, took to the stage with gently plucked and strummed acoustic guitar. His warm and affecting performance connected with the small audience. The songs are brimming with creative ideas, from the titles (‘Hang my Gallows High’, ‘Beating Hearts of Birds’), to the ambiguous emotions of the lyrics (the poignant ‘I Can’t Belong to You’), to the wide vocal range and tones he uses. If you listen to his soundcloud page or sample CD the varied instrumentation used creates mini movie soundscapes, (a bit difficult to play solo on stage!) showing the potential directions in which his sound could be developed.

Tom Williams and the Boat have three albums of folk-driven indie rock to their names, many festival appearances and a devoted following. Opening song ‘Little Bit in Me’ showcased interesting dark lyrics, complemented by acoustic guitar and electric piano blending with fuzzy guitar lines. A strong bass and some fiery drums added to the light and shade through the set. There was even a (too brief) bit of harmonica later too..

Tom Williams is a relaxed and accomplished frontman, his easy exchanges with the audience worked well. They are justly proud of their new album ‘Easy Fantastic’ and its rockier sound featured on the later songs this evening, when Tom replaced his acoustic with electric. The sound was varied, the sprawling epic ’25’ begins with brooding guitar and voice, building up to guitar fireworks and feedback fade ending. This was a bit of a change, but the sound of the closing song ‘Get Older’ brought us back to the pounding folk rock where we started. It was a good show, the small but appreciative audience will be there next time too I think…

https://www.facebook.com/tomwilliamsandtheboat
https://www.facebook.com/pages/Joe-Bell-and-The-Broadway-Danny-Rose/147966985248037