Wooden Arms

Wooden Arms are a genre-fluid contemporary quintet from the UK who draw from Alternative, Classical, and Trip-Hop music.

Enthused with the rhythmic sensibilities of Portishead, blended with the ethereal melodies of Sigur Rós, Wooden Arms' first full length album "Trick of the Light" (due for release October 6th 2017) sees the band shift to a more contemporary palette. "… Portishead or Sigur Rós fans, it might be time to listen in." - The Sunday Times

 

This new sonic palette is markedly more contemporary for the band, and heralds something of a departure from the classical chamber music stylings of the first album. Enthused with the rhythmic sensibilities of Portishead, blended with the ethereal melodies of Sigur Ros, Wooden Arms' instrumentation has grown to include more electronic production elements. This recording sees the band decidedly shake off the shackles of ‘Folk music’ pigeonholing, towards something newer, darker, more strange.

 

Not only has the sound shifted to a more contemporary texture but the way the pieces are composed has changed. The focus has shifted from classically trained pianist Alex Carson to a writing trio between Alex Carson, Jeff Smith (Trumpet & Guitar) and Alex Mackenzie (Drums). This more collaborative style of writing has led to a more refined, honed sound which can be heard on their debut single “Burial” taken from their forthcoming album. 

 

‘Burial’ lulls the listener into a somniferous somber lullaby in its first section, a peace which is broken by a pulsating trip-hop heart-beat bassline. ‘Burial' continues to ramp up a sense of dread until finally it culminates in a furious, cacophonous clattering of sound.

 

“Inspired by Edgar Allen Poe, the track flips between sombre lullabies and trip-hop basslines on its way to a climax of noise. It’s quite a thing.” - For Folks Sake (Burial release)

 

“Tender and brutal, barking and soothing, this is chaotic balance at its best.” - Outline Magazine Norwich

Listen to the single Burial
here on YouTube

 

(Photo by Michael Clement)