FESTIVAL REVIEW: ArcTanGent 2018

Over the past six years ArcTanGent has emerged as the UK’s shining light for showcasing the most exciting music the underground realms math, post and hardcore has to offer. From the sublime to the bizarre ArcTanGent in its sixth year continues to provide the breeding ground for the most exciting underground music in the world.

Thursday

UK two piece CASSELS (6/10), comprising of brothers Jim & Loz Beck, kick start the ArcTanGent weekend as their blend of angular guitar riffs and powerful drumming provides an excellent start to proceedings. Though it could be a touch awkward between songs and a particularly raw final song dealing with personal abuse left a few in the crowd staring into their ciders, the two are incredibly young and play with ability seemingly beyond their years (seriously, they looked like they could get junior tickets on most public transport) but still put on a solid outing.

Next though came a juggernaut of psychedelic warfare which decimated all those in attendance on Thursday, we expected BOSS KELOID (9/10) to be force of nature after seeing them on the back of Herb Your Enthusiasm but nothing was to prepare ArcTanGent for what was unleashed. Playing songs exclusively from their latest mind expanding opus, Melted on the Inch, the band once again prove why they are so well regarded by the UK underground and prove to be the undisputed kings of UK sludge.

Following BOSS KELOID on the PX3 Stage was BODY HOUND (6/10) who brand of big riffs got the crowd moving for the first time that weekend. Packed with energy and a gleeful PRIMUS based bass playing made an upbeat change from the sonic weight of BOSS KELOID.

Straight back to the Yohkai Stage for one of the highlights of the day as ArcTanGent stalwarts ALPHA MALE TEA PARTY (8/10) brings the party to the festival in the form of the biggest and bounciest riffs available. The band’s return after playing only the previous year before was greeted in the manner of a team triumphing in Europe returning home to a tent packed to the brim with people going seven shades of mental to the Liverpool based three piece. A frenetic blast of exhilarating instrumental rock in the blissful summer sunshine and there is nothing much more you can ask for on the first day of a festival.

OHHMS (7/10) brought the festival back down to earth with their signature brand of SABBATH-laden noise. Their shows are always on the intense side of the spectrum but this one was especially so with frontman Paul Waller providing the bleak to the awaiting masses. A performance so loud that the water in our mouths began to vibrate when the bass kicked in.

Next, to a band who seem to be the marmite of the ArcTanGent scene, SVALBARD (5/10) who are riding a wave of critical acclaim following their most recent album It’s Hard To Have Hope. Sadly their chaotic brand of hardcore, though intense, seemed to leave many in and outside of the tent cold. Especially during some of the more preachier moments between songs you could see people becoming visibly uncomfortable.

From bands that divided the audience to bands that seemingly unite the entire festival, out of all the punters at the festival this weekend it seemed very few weren’t watching ROLO TOMASSI (9/10). There are some bands that are on home turf at a festival like ArcTanGent and the UK math-rock masters were nothing if not just that when they arrived in the mid afternoon onto the Yohkai Stage. Greeted by a sea of people screaming every word of their set back at them, TOMASSI dominated the stage with such grace, as if it was seemingly effortless for them. Ending on the spellbinding A Flood Of Light signalled that this isn’t the band who wrote I Love Turbulance anymore, that they are now somewhere in the vicinity of a cross between SIGUR ROS & ISIS.

Faced with the tumultuous task of following them were UK post metal heavyweights BOSSK (7/10), who are the old reliable of the underground music scene. There’s never a bad BOSSK show as you can’t help but be washed away in their tidal wave of crushing sonics. For all their musical expertise, the band’s arsenal of material is becoming increasingly repetitive and the need for new material is more apparent than ever.

Up to this point we’d been blessed with truly excellent bands but, this year’s ArcTanGent belonged to JAMIE LENMAN (10/10). Provided with the best of REUBEN and two stellar solo albums under his belt there was no chance of JAMIE delivering anything short of good, but this wasn’t good so much as it was superb. From old school REUBEN classics like Kick In The Mouth or Every Time A Teenager Listens to Drum & Bass a Rockstar Dies to the emotionally charged rendition of I Ain’t Your Boy there was no escaping the genius of LENMAN‘s song-writing. That would all well and good, but producing one of the loudest festival singalongs we’ve ever heard to a cover of TOTO‘s Roseanna was simply phenomenal. Ashes to ashes, dust to dust, if the women don’t get you the whiskey must, Godspeed JAMIE LENMAN.

The long-awaited UK return of LA DISPUTE (8/10) provided the emotional gut punch needed from such a band. Though they are certainly an acquired taste, the devotion from those in the tent was quite incredible to witness and their diligence was rightfully rewarded with the rarely played King Park closing a brilliant night of music on the Yohkai Stage.

Closing proceedings for the first day of ArcTanGent, post rock pioneers AND SO I WATCH YOU FROM AFAR (7/10) performed their most recent album The Endless Shimmering in its majestic entirety. Pulling a massive crowd, the band deliver the goods with their blend of enchanting instrumental post rock resulting a pleasant evening listen.

Friday

From the sublime nature of Thursday, to the absolutely bat shit insanity of Friday, SPACE BLOOD (8/10) kick off day two of ArcTanGent. Best described as if the geezer from MUSHROOMHEAD fused with Megatron to start a Mike Patton side project on krokodil; to say it was a bit odd is to say the least of it. From murdering band members with confetti cannons at the end of Unintentional Manscaping to presenting sex dolls to the crowd it was always going to be a memorable affair. A solid start to the day.

Back down to earth next with Sweden’s GOD’S MOTHER (7/10) who certainly know how to bring the chaos to the still slightly baffled tent. From climbing structures to crowd surfing on SPACE BLOOD‘s sex dolls, it was essentially sheer unadulterated chaos from start to finish and it was bloody magnificent.

ArcTanGent is a festival that prides itself on having the best most virtuosic musicians in the scene and POLY-MATH (7/10) stole the show with their bass player, Joe Branton, who captivated the crowd thanks to the technical proficiency on his instrument. Between that and the inflatable bananas handed out to the crowd it was good fun all around.

The term fun is not one that could be thrown at TALONS (7/10) who followed them, bleak and grim certainly, but you could never use the word fun for them. But still despite having as much levity as a TED talk on your life’s failures the tent was dripping in atmosphere and the wall to wall feedback combined with the strings brought its own deeply dark and worrying charms.

Bringing the grimness to the next level however were CONJURER (9/10), who stole the Friday with relative ease. With riffs as mighty as those on Mire it is easy for CONJURER to steamroll over 80% of the bands on the UK scene and they did just that at ArcTanGent. As heavy as an elephant’s bereavement and just as pissed off as well, the tent rightfully booted off almost immediately and did not stop. They really are the bright hope for UK metal.

Up next were VENNART (5/10) who played to a sadly small crowd on the main stage. It might have been good gigs if those there were not seemingly waiting for the smattering of Oceansize songs, which sadly only came right at the end. The new songs did sound good, so there is hope that they will develop the songs to stand up on their own as a band.

Likewise playing to a small crowd were BLACK FUTURES (8/10), however that is where the comparison with VENNART stops as this duo seemed hell bent on confusing and provoking the small but curious crowd they had amassed. Sounding like the bastard child of GODFLESH and THE PRODIGY flanked by their devoted boiler suited druids it was something somewhere between performance art and an electro hardcore show. Safe to say, keep tabs on these as they’ll probably do something more insane soon.

It was great to see a full crowd ready to meet ZEAL & ARDOR (8/10), who bring their satanic blend of African American slave music and black metal, which sounds mental on paper and in practice is just that, though it works with tremendous success. Packing big chanting and huge three part vocal harmonies from Manuel Gagneux and the two backing vocalists, this set went a long way to showing that ZEAL & ARDOR are more than just an interesting gimmick but are a fully functioning creative force.

On paper there shouldn’t be many bands better at headlining this festival than GLASSJAW (7/10), but for some reason it just didn’t quite hit the heights it should have. In parts it was simply stunning with a thunderous version of Ape Dos Mil providing the pinnacle of their set but it just didn’t seem to reach the heights you would expect. No Cosmopolitan Blood Loss was a big miss and a seemingly rushed Siberian Kiss at the end was as close as it got to headlining glory. They were good, but it could have been so much more.

Saturday

The last day of the festival and the hangovers are starting to kick in but the perfect hangover cure of the summer went to MØL (8/10). Despite the early start, the Danish crew staked a claim to stealing the whole day. Playing their signature brand of post black metal, the band brutalised those in attendance with their THE CURE meets DEAFHEAVEN  brand of savageness.

The sound of TELEPATHY (8/10) drew moths to the flame and seemingly dropped the biggest anvil possibly on them. The Colchester based four piece dealt in the densest most cavernous noise available and proceeded to drop it all onto the awaiting masses. if you can imagine being waterboarded with expanding foam then you’ll come close to imagining how heavy this was.

A European exclusive appearance from Massachusetts based two piece GIRAFFES? GIRAFFES!! (7/10) was next for the main stage. For those unaware of what the band sound like, imagine if AMERICAN FOOTBALL went to a Gent Jazz night and lost all control of having functioning song structures only to then drop the sheer volume of THE MARS VOLTA in the mix as well. It came across like messing about of the highest order and it can be too much if you like actual song structures, but if you are a fan of sheer musical virtuosity, then you can’t go wrong here.

For a band to be as young into their career and to be as beloved as BLACK PEAKS (9/10) are is quite remarkable. There hasn’t been a band to hit the ground running quite as quickly or as successfully as this band in a long time. Opening with the already anthemic Can’t Sleep, the band inspired such a show of love and devotion from the fanatical crowd that you could see them headlining the whole festival in the not too distant future. From the choice cuts from Statues to ending on the new single Home it seems that the BLACK PEAKS hype train is not slowing down for anyone.

If things were getting a bit too technical and weird for your liking, then PART CHIMP (7/10) were the band for you. Not so much a change of pace and more like trying to run away from an angry dog with a ball and chain tied to your ankles, this was pure knuckle-dragging heaviness at its finest. In the grand scheme of things it was more than refreshing, especially when those JESUS LIZARD-esque riffs kick in and reduced most of the audience to a fine spreadable paste.

Closing proceedings on the Yokhai stage were ARCANE ROOTS (8/10), who very much like BLACK PEAKS, could be possible festival headliners in the coming years. Wearing their inspirations on their sleeves, this was a tight mashing of BIFFY CLYRO with MUSE back in their heavier days. ARCANE ROOTS sit in a wonderful position where they have an almost pop electronic sheen to their music but still have the chops to pull out a killer riff every now and then. If they keep writing songs as good as Leave then there will be no doubt, you are looking at a future ArcTanGent headliner.

Finally, closing proceedings on the main stage were SHELLAC (7/10) who was preaching to a crowd of the converted. Steve Albini held the crowd in the palm of his hand through this barrage of weird noise rock and sludgy alternative riffs. You could hear people singing “Just Kill Him, Just Fucking Kill Him” for hours after their explosive performance.

Thought it had a lot to live up to following on from last year’s stellar affair ArcTanGent 2018 more than delivered the goods, showcasing the best in the world of weird and wonderful experimental music and more importantly giving the youth a place to shine and grow. See you next year.

Relive the weekend’s antics with our stunning collection of photos from our photographer, Martha Fitzpatrick, here: