Tag Archives: Wooden Arms

Wooden Arms, Portland Arms, Cambridge, 13 December 2017

On a damp December evening, the welcome prospect of three acts making waves in their own not easy to classify genres.

The show started with the ethereal dreampop soundscapes of upcoming Cambridge trio Carolyn’s Fingers. Named after a song by the Cocteau Twins they weave their music from a simple combination of bass, keyboard and an echoing guitar that sounds like it is appearing over a distant horizon. Add hypnotic vocal cadences, unpredictable taped percussion clicks and bursts and you have their signature track ‘Glemora’. Their lyrics address some difficult issues such as the mental state of residents in a detention centre in the minimalist ‘Vapour’. A new single was being filmed during the set for video release and I think we will be hearing much more of their haunting sound.

I last saw Xavier Watkins fronting psychedelic revivalists Violet Woods a couple of years back, here he was back at the Portland with his new project Twenty-Three Hanging Trees; one man and his analogue modular synthesiser. He builds up electronic textures in extended pieces, requiring concentration from the audience to absorb the ever-changing sonic layers. With blurred back projections of images in reds and greens and the visual necessity of plugging in and removing wire connections it was all strangely involving.

Norwich band Wooden Arms describe themselves as a ‘genre-fluid contemporary quintet’ and with the addition of a new bassist they are creating a thoughtful acoustic-based ensemble sound, playing tracks from their new album ‘Trick Of The Light’. Seated at his electric piano singer Alex Carson is the creative drive behind the band, drawing on difficult personal experiences for many of the lyrics. Co-writer and lead vocals (and trumpet) on some songs Jeff Smith has a similar but subtly different voice. All of the band contribute backing vocals, adding an extra dimension to the infinite variations of instrumental light and shade.
The tempo of songs is sedate but there are so many intriguing touches; the sprightly birdsong violin on ‘Brevity’, the John Barry string motif on the smooth roll of ‘Cole Porter’ and the way the plaintive piano figures seem to underpin the direction of the songs. From the novel by Patrick Hamilton, ‘Twenty Thousand Streets Under The Sky’ is a great title and the song seems to lose itself in an evocative journey too. The final two tracks, the older ‘December’ and newer ‘Burial’ (released as a single) are fine summations of the band’s work, ending the show on an emotional crescendo.



Wooden Arms, Junction, Cambridge, 11 Oct 2014

As the summer finally gave way to a mellow autumn Junction J2 was the venue for three musical performances of contemplation and experimentation. First on was Gaze is Ghost, singer-songwriter Laura McGarrigle from Strabane alone at an electric piano, with her plaintive voice and sensitive chords illustrating her songs of love and loss. The back projections of desolate seascapes and blurred light sources complemented the absorbing sounds.

After a short interval multi-instrumentalist and composer Tom Adams sang and played electric guitar. He augmented his songs using effects and guitar loops in the most imaginative way I had seen for a while, the patterns he set up twisting and turning and arriving in the mix when you least expected them. Even one of the control boxes seemed to have a life of its own and generate a chorus of sound when moved around. A multi-layered trumpet was used in the final song to create a rush like the wind blowing across the continuing background images.

Wooden Arms are from Norwich, touring to showcase their recently released album ‘Tide’. The six talented band members, led from the piano by main composer Alex Carson, play a variety of acoustic and electric instruments, violin, cello, trumpet, guitars and drums. All of the band sing and the resulting music produced has classical, ambient and folk influences with many fragile textures and subtleties. ‘Prelude’ opens the set, a repeating piano figure gradually joined by ethereal voices and strings. The pieces move at a gently flowing pace, vocals arrive and depart, sometimes the drums add fireworks, such as at the end of the evocative ‘December’. The album title track ‘Tide’ is a standout, a classical piece with a powerful build up of voice and instruments. New song ‘Burial’ brought the show to an end, yet somehow the haunting sounds of all three of the evening’s acts continued…