FESTIVAL REVIEW: ArcTanGent 2022

As one of the more niche festivals within heavy music, there is a special affection for ArcTanGent. Curating an expansive bill that spans the breadth and depth of forward-thinking music within our world, the August weekender at Fernhill Farm is just as much a festival as it is a community of like-minded individuals. Now, in 2022, ArcTanGent is back and makes its grand return after an enforced three year hiatus due to the pandemic. With arguably one of the strongest and most diverse lineups of this summer’s festival season, team Distorted Sound was on the ground to soak up the action!

Thursday – August 18th

PIJN – Arc

Manchester’s PIJN have been one of the treasures of the more experimental-leaning side of the UK heavy music scene. The instrumental post-metal merchants take to the stage at the main stage of ArcTanGent to a healthily sized crowd and what follows is simply sublime. Reinforced with DAWN RAYD‘s Simon Barr on violin duties, the band weave their way through aural intricacy and crushing post-metal bedlam and the soundscape is simply emphatic to experience live in flesh. A perfect start to the first full day of music at ArcTanGent.

Rating: 9/10

BLODET – Yokhai

In their short existence, Church Road Records have quickly established themselves as a vital label for some of the most exciting bands within the heavy music sphere and non encapsulates this better than Sweden’s BLODET, Taking to the Yokhai stage, the Swedes are simply captivating as their fusion of doom-meets-psychedelic folk washes over the crowd gathered ever so effortlessly. Vocalist Hilda Heller is intoxicating to watch as she moves across the stage in perfect tandem with the music of her bandmates and her vocals are awe-inspiringly excellent to boot. A fitting performance from a rare treasure in our scene.

Rating: 8/10

A.A. WILLIAMS – Arc

As one of the more serene artists on the billing of ArcTanGent, A.A WILLIAMS takes to the stage of the Arc and what follows is simply bliss. Haunting yet captivating, Williams and her bandmates lead their way through a stunning replication of material from As The Moon Rests, Forever Blue and her self-titled. Despite some irritating chatter towards the back of the crowd in the more atmospheric moments, Williams is simply exquisite and demonstrates the shimmering beauty that lies within the darkest corners of our scene.

Rating: 8/10

CRYPTIC SHIFT – PX3 

As one of the more ‘traditional’ metal bands at ArcTanGent, CRYPTIC SHIFT arrive to ArcTanGent on good form on the back of solid live outings and 2020’s well-received Visitations From Enceladus. At ArcTangent, it’s business as usual for the Leeds-based technical thrashing death metal band and for the uninitiated, they lap up every second as the band roar into life with the expansive Moonbelt Immolator. For all their technical class though, for those well versed in the CRYPTIC SHIFT soundscape, it does become somewhat sluggish in their latter stages on stage. Moving forward, new music is an absolute must to ensure they continue their upwards trajectory.

Rating: 7/10

IMPERIAL TRIUMPHANT – Bixler

‘Luxury’ isn’t a word you associate with a music festival, but New York’s masked metropolitans have arrived at Fernhill Farm to give us a glimpse of glamour. Hot off the heels of Spirit Of Ecstasy, IMPERIAL TRIUMPHANT look more than confident on this humble stage: their golden masks gleaming brightly in the afternoon sun. With three big albums under their collective belt IMPERIAL TRIUMPHANT are more than capable of putting together a killer setlist these days, and it’s a delight watching them work backwards from their latest with Tower Of Glory, City Of Shame and Merkurius Gilded, through Alphaville (Atomic Age and Transmission To Mercury) and back to Vile Luxury for Chernobyl Blues. To get their highly-technical sound working in a tent would have been an achievement, and sadly that hasn’t happened this afternoon. It’s disappointingly muddy, with only the backing tracks coming through bright and clear. Fans won’t be chasing the IMPERIAL TRIUMPHANT limousine back to the hotel today.

Rating: 6/10

PERTURBATOR – Arc

One of the most drawing aspects of ArcTanGent is the fact it boasts an eclectic lineup across the entire spectrum of alternative and heavy music. Arguably one of the more left-field choices, PERTURBATOR arrives to the Arc and those present are ready to party. James Kent‘s vision of synthwave-meets-metal goes down a triumph at ArcTanGent as Satanic pentagrams illuminate the stage and the electronica tones of last year’s Lustful Sacraments gone down a treat with the crowd, who respond accordingly with fluid motion. Sure, it might not be the heaviest or sonically devastating performance of the weekend, but with the euphoria that only synthwave can provide, PERTURBATOR demonstrated that more festivals need a splash of synthwave on their billing.

Rating: 8/10

BOSSK – Bixler

BOSSK are no strangers to ArcTanGent, and if you took a quick inventory of the crowd’s t-shirts over the weekend, you could easily mistake them for a headlining act. This is a home-game for the Ashford post-everything band, and the audience spills out from the Bixler stage before BOSSK have even taken to the stage. A one-two punch from their breakthrough album Audio Noir (The Reverie and Heliopause) eases a jubilant audience into the pensive riff-worship of BOSSK, and from there on this is a tent enraptured. Their second full-length Migration came out last year, but that was as well have been yesterday for a band who move as steadily as BOSSK. There is hardly a head left unbanged when monolithic single Menhir is unleashed, with CULT OF LUNA’s Johannes Persson performing the song alongside the band on stage for the very first time. A nod to the past with Define, and before we know it they are wrapping things up with the epic Lira. It’s smiles all around: BOSSK’s triumphant return to ArcTanGent surely won’t be their last.

Rating: 8/10

AMENRA – Arc

As part of the Church Of Ra collective, AMENRA are revered within the heavy music underground and hitting the main stage of ArcTanGent, a swarm of the faithful gather for what can only be described as an aural religious experience. Led by the captivating Colin H. van Eeckhout, the accompanying visuals are minimal but oh so effective, as AMENRA power their way through a set that leaves jaws firmly planted on the floor. The focus here is solely the music and the massive wall of sound washes over the crowd with the utmost effectiveness. By the time they conclude, AMENRA have stunned those present and their impact will live long those in the memory of those present.

Rating: 10/10

MAYBESHEWILL – Yokhai

Having originally been booked for 2020’s festival until the pandemic struck, the return of homegrown post-rock maestros MAYBESHEWILL has been a long time coming. But, two years on since their reformation and armed with last year’s sublime No Feeling Is Final, MAYBESHEWILL provide a captivating and tear-jerking set to the ArcTanGent faithful. Material from last year’s aforementioned release sounds particularly excellent, especially the politically-charged Zara, and keyboardist Matthew Daly excels with excellent sombre playing that really compliments the band’s expansive post-rock sound. A victory lap of sorts, the return of MAYBESHEWILL was fitting for the return of ArcTanGent and perfectly encapsulates everything this niche festival stands for.

Rating: 9/10

CULT OF LUNA – Arc 

As red light ominously flashes as Cold Burn opens, there’s no denying the sheer seismic power of CULT OF LUNA. The Swedish post-metal maestros have a fierce reputation as one of the most bombastic bands within heavy music, and with their headlining set at ArcTanGent, they are in a league of their own as they unleash sheer aural devastation in an unrelenting performance. The aforementioned Cold Burn, from this year’s The Long Road North, is a thundering opener and from there, CULT OF LUNA go from strength to strength. Nightwalkers is an early highlight as Johannes Persson‘s vocals sound absolutely enormous, and the psychedelic-leaning melodies in the track’s latter stages sounds absolutely phenomenal in the live setting, whilst an earth-shattering one-two punch of In Awe Of and The Silent Man have the crowd shell-shocked. With little respite, CULT OF LUNA reaffirmed their status as one of the most vital bands we have in our world.

Rating: 9/10

Friday – August 19th 

FIVE THE HIEROPHANT – Arc

Concealed behind black hoods, London’s FIVE THE HIEROPHANT are one of the more interesting bands on the scene, bringing a hypnotic, droning, avant-garde jazz flavoured doom with them. For a certain crowd Through The Aureate Void was an unmissable milestone last year and, alongside their Roadburn debut, cemented the band’s reputation in the doom world. Sonorous saxophone drones roll over the quaint English countryside into the campsite, beckoning all doom metal devotees to their stage. Maybe it’s just us, but it’s rather early to settle into the dark, psychedelic headspace which FIVE THE HIEROPHANT so brilliantly commands. All the same it’s truly heartening to see this proudly esoteric act dominating on the big stage and (who knows?) maybe we’ll soon be seeing them there again much later in the day.

Rating: 7/10

MØL – Arc

Denmark’s MØL have been on a meteoric rise in heavy music circles ever since the release of Jord back in 2018. Four years later, and a global pandemic to boot, the Danes are back at ArcTanGent and what follows is simply astonishing. For many at Fernhill Farm, this provides the first chance to hear material from last year’s Diorama, and live, it is monumental. The likes of Photophobic and Serf are performed to perfection, with the emotional bedrock hitting all the more harder in the live environment whilst Bruma positions itself as one euphoric set closer. Throughout their time on the ArcTanGent stage, you get the feeling that MØL have a special relationship with the festival’s audience and this is embodied by frontman Kim Song Sternkopf who spends more time stood above the barrier and within the crowd itself than being on the stage. A powerful, gripping and emotional performance from one of our scene’s brightest new lights.

Rating: 10/10

ORANSSI PAZUZU – Arc

Akin to the mystique and curiosity proposed by IMPERIAL TRIUMPHANT the previous day, there is an aura of anticipation surrounding Finland’s ORANSSI PAZUZU. The band’s approach to black metal is unconventional to say the least and as such, the tent is packed to experience a sound that dares to push the boundaries of our understanding of the black metal template. And they achieve just that as what follows is as uncomfortable as it is captivating. A healthy amount of material from 2020’s Mestarin kynsi get a runout at ArcTanGent, and the band’s ability to conjure a truly intimidating atmosphere is impressive as the more ‘traditional’ black metal guitarwork intertwines with the synths/keys that maintain a sustained feeling of dread. For some, it’s too much for their aural palette, but for the initiated, watching ORANSSI PAZUZU felt like being hurled into the abyss and being engulfed by darkness.

Rating: 8/10

RIVERS OF NIHIL – Bixler

Ever since RIVERS OF NIHIL dropped Where Owls Know My Name in 2018, the Pennsylvanian technical death metal outfit have shot up the ranks as one of the most respected bands in our world. At ArcTanGent, they reward the faithful gathered at Bixlar as they exude a masterclass in progressive-leaning technical death metal. The Silent Life is a thundering opener as the bruising riffs, thundering growls from Jake Dieffenbach and mesmerising lead play whips up a storm and from there, the band run riot through a set comprised of Where Owls… and last year’s The Work. Whilst their saxophone elements are restricted to a backing track, it does not detract from the fact that RIVERS OF NIHIL have smashed ArcTanGent to pieces.

Rating: 9/10

MONO – Arc

Any band calling themselves ‘post-rock’ owe a huge debt to Japan’s MONO, who codified many of the style’s essential features well before it was in vogue, and the collective have consistently delivered fantastic albums and mesmeric performances ever since. To say we are in safe hands at the Arc stage for the next hour would be an understatement. It’s a bold move to open a festival set with your big number, but MONO are putting Ashes In The Snow in pole position today. The tell-tale glockenspiel pulls a crowd beneath the canvas, and it’s an ecstatic moment as the sun peaks beneath the clouds whilst MONO build to crescendo after crescendo. From there on it’s all about Pilgrimage Of The Soul, and oh my, we’re cursing ourselves for having slept on this one. On paper you might think MONO would be a studio band, and how wrong you would be: their performance today puts many of the younger bands here to shame.

Rating: 8/10

SCALPING – Bixler

Rock and metal festivals are great, of course they are, but sometimes you just need to bounce after a long day of banging your head. Enter SCALPING. The gulf between rock bands and electronic music is often over-exaggerated, and this Bristol four-piece are out to show that they can bridge the gap. Their industrial-flavoured techno is performed on live instruments (no laptop trickery to sneer at here) and it hits extremely hard when it wants to. Delightfully noisy and irresistibly groovy, it’s heartwarming watching a tent of ardent metalheads letting loose and throwing some shapes. Void came out earlier this year, and it’s clear to see that this is a band who are really hitting their stride. SCALPING play a relentless set with no breaks, and paired with the digitally surreal visuals they’re projecting, it’s an intense experience. Silent disco? We’ll pass, thanks.

Rating: 9/10

TESSERACT – Arc 

Having elevated themselves to a headlining position, TESSERACT at ArcTanGent seems a natural fit, so much more so on their more eyebrow-raising position supporting BULLET FOR MY VALENTINE last year. There is no doubting the sheer musical prowess within the British progressive metal band’s ranks, but at ArcTanGent, it feels like a match made in heaven. And what follows is a homecoming celebration as TESSERACT run a victory lap through their discography. Backed with a laser show that dazzles and compliments their expansive soundscape wonderfully well, the quintet are on fine form as an opening salvo of Of Matter – Proxy, Of Matter – Retrospect and Of Matter – Resist gets the set off to a grand start whilst King is a clear standout as vocalist Dan Tompkins soars over the wall of sound provided by his bandmates. Speaking of Tompkins, at ArcTanGent, his delivery of his pop-laden vocals are simply exquisite – cutting through the mix to the superb effect and really help add a level of finesse to the band’s headlining performance. With their 20 year anniversary on the horizon, ArcTanGent more than showcased just why TESSERACT are so well respected within progressive circles.

Rating: 9/10

Saturday – August 20th 

GARGANJUA – Bixler

It’s the third day at ArcTanGent, and everyone’s feeling a tad delicate. The party has wound down a little, and we’re in need for some succour for the soul. Luckily Leicester’s GARGANJUA are here to provide some respite to sore heads. Their breakthrough came with 2020’s Toward The Sun, and they have clearly had chance to hone this material into a tight fifty-minute set. Despite their almost cartoonish name, GARGANJUA perform a sincere, thoughtful style of sludge a la YOB. There’s lots of space between the teeth-clenching heaviness where they develop a pensive atmosphere, but this band certainly knows how to make their amps purr. It’s not all mid-paced fare, either: GARGANJUA really develop some momentum when they need to, and it’s all the more impactful for being so carefully placed. As we’re standing here sipping our morning brew, we quietly hope to see much more of GARGANJUA in the near future.

Rating: 8/10

JO QUAIL – Arc

As mentioned throughout this coverage of ArcTanGent, this is a festival that cherishes music that dares to push the boundaries. Acclaimed cellist JO QUAIL is the perfect embodiment of this and her presence at the Arc stage of ArcTanGent is simply gorgeous. Incorporating loops aplenty, the way in which QUAIL can create such a massive all of sound through one instrument is outstanding. Her compositions are expansive and enormously expansive yet tranquil and fragile. A unique artist, JO QUAIL is in a league of her own.

Rating: 9/10

ITHACA – Bixler

Ever since 2019’s The Language Of Injury, ITHACA have been riding a wave of momentum as one of the UK’s most exciting breakout bands. With They Fear Us, the metallic hardcore troupe have roared back in a post-pandemic era and at ArcTanGent, the band treat their return to the festival as a homecoming. And the results are euphoric. Comprised of material from the aforementioned They Fear Us, ITHACA are on scorching form as Djamila Azzousz leads the charge through the likes of Camera Eats First, In The Way, The Future Says Thank You and the title track of their latest opus. As they close with the thumping Impulse Crush, one thing is clear. ITHACA are one of the UK’s most vital bands and we must be cherished at all costs.

Rating: 10/10

HERIOT – PX3

Given the fact HERIOT had smashed Bloodstock to pieces a week earlier, we’d forgive these young firebrands if an element of fatigue crept into their performance at ArcTanGent, but the Midlands-based metallers are a special beast. And what follows in a jaw-dropping performance that not only further bolsters their soaring reputation, but makes their Bloodstock set look tame. Even more ferocious and manic, the band are on scorching form as a combination of Debbie Gough‘s larynx-shredding shrieks and Jake Packer‘s booming lows makes for a vicious combination and the monstrous riffs and thundering drums is as jaw-droppingly heavy as it is a wonder to behold. As they close with Cleansed Existence, HERIOT can consider their summer season a triumphant success.

Rating: 9/10

CONJURER – Arc

Ever since erupting onto the scene with 2018’s Mire, CONJURER have cemented their position as one of the most exciting bands within the UK’s booming metal scene. Now, armed with their new record, Páthos, the band take to the main stage of ArcTanGent and aurally shake the festival to its very core. Obtusely heavy, the band are on scorching form as the doom-drenched riffs of It Dwells and Suffer Alone hit like a freight train whilst Dan Nightingale‘s guttural lows and Brady Deeprose‘s piercing shrieks cut through the chaos like a hot knife through butter, especially on the likes of Choke or Retch. Those that have experienced CONJURER in the past know that this is a band that sets the benchmark for heavy in the live environment, but at ArcTanGent, it felt like a band hitting a new level. And it was glorious to experience.

Rating: 9/10

DEVIL SOLD HIS SOUL – Arc

Ambient influenced post-hardcore troupe DEVIL SOLD HIS SOUL long-awaited return with last year’s Loss was a bright light in the most darkest of times in the pandemic and at ArcTanGent, the band proceed to give a performance that is packed to the brim of emotion. Spear-headed by the dual-pronged approach of vocalists Ed Gibbs and Paul Green, the two lead the charge as their balance of angelic cleans and harsh growls and exude boundless energy throughout their time on stage and a special appearance from ITHACA‘s Djamilia Azzousz and FRONTIERER‘s Chad Kapper is an absolute treat. Whilst the band give it their all, what’s slightly disappointing is that there’s only a sparse crowd to roar home the band. Whilst this should not detract from the quality displayed on stage, it feels like DEVIL SOLD HIS SOUL still stand within our circles as a cult treasure, when in reality, they should be drawing thousands to their live spectacle.

Rating: 8/10

EMMA RUTH RUNDLE – Yokhai

EMMA RUTH RUNDLE might be one of the more acoustic-laden offerings at ArcTanGent but given the fact the Yokhai tent is bursting at the seams when the Portland, Oregon-based singer-songwriter takes to the stage, you’d anticipate her ambient folk-meets-sombre pop melodies would result in plenty of chatter amongst those gathered. Perhaps it’s the ethos of the ArcTanGent community, or on a greater level it’s the jaw-dropping musical ability of RUNDLE, but the Yokhai tent is stunned to silence as EMMA RUTH RUNDLE captivates from her first whispered note to the last. Full of whit and dry humour, a staple of us Brits, Emma leads us through a stunning display of last year’s Engine Of Hell as she solely displays her gorgeous vocals and sombre work on the guitar and the piano respectively. And with a superb cameo from JO QUAIL on a sublime rendition of Citadel, EMMA RUTH RUNDLE further cemented herself as one of our most treasured artists.

Rating: 10/10

THE ARMED – Arc 

THE ARMED are a unique proposition. The anonymous collective’s brand of hardcore punk is hard to pinpoint and digest on record and live, they are even more chaotic. The energy displayed from the collective is untapped, as they exude boundless amounts of enthusiasm and athleticism as they batter their way through their time on ArcTanGent‘s main stage. Cuts from ULTRAPOP are dropped aplomb to adoration from those present and it is simply exhilarating. Despite the back of the tent feeling sparse (perhaps due to the curious MASS OF THE FERMENTING DREGS performing over at PX3), those present can attest to the fact that there is no band that can run in the same league of uniqueness as THE ARMED.

Rating: 8/10

MASS OF THE FERMENTING DREGS – PX3 

Mass of the what now? Hailing from Kobe in Japan, MASS OF THE FERMENTING DREGS are making their UK debut here at ArcTanGent, and the PX3 tent is tightly packed to see them do it. Often described as a post-hardcore band, that doesn’t really come close to explaining their unique appeal. They have a vibrant energy which is too wholesome to be called punk, and there’s definitely a saccharine dimension to them too, but MASS OF THE FERMENTING DREGS are not afraid to step on a distortion pedal when they need to and make some real noise. It’s not a complex musical experience, and it doesn’t need to be. This is the sound of SONIC YOUTH going bubblegum, and It’s hard to imagine they could have made their debut anywhere but here: an outright joyous explosion of youthful exuberance, with the eagerness of the crowd matched only by the enthusiasm on stage.

Rating: 8/10

GODFLESH – PX3 

Coming to terms with GODFLESH is something of a rite of passage in a metalhead’s quest for heaviness, and their appearance here at ArcTanGent alongside the toast of the progressive metal world is very apt indeed. Justin Broadrick’s CV is too long to list but if you don’t know him as the guitarist of GODFLESH, then you know him as an early member of NAPALM DEATH, or as a producer or member of countless other acts. No amount of cred in the scene is going to protect you from technical blips though, and Justin anti-ceremoniously knocks his laptop (read: drummer) from its stand as they launch into Love Is A Dog From Hell.

GODLFLESH’s stage presence is simple but powerful. Strobe lights flicker in sync with their characteristic drum machine, emphasising and underlining each artificial kick drum beat. The sound is right where you want it to be: right on the precipice of teeth-rattling volume, enough to produce a kinetic element to their music. The penultimate Like Rats whips the crowd into a frenzy of pulsating bodies, but it’s remarkable how effective even the deep cuts in this set are. An hour passes in a bewildering but mesmerising blur.

Rating: 8/10

PUPIL SLICER – PX3

Given the fact the PX3 is absolutely rammed at the time that progressive heavyweights OPETH are headlining over at Arc gives just a glimpse into the buzz of PUPIL SLICER. Squeamish name aside, the noise-makers have been on explosive form since their explosive debut Mirrors last year. And at ArcTanGent, they not only continue to stoke the flame of their ascendancy, they ignite an engulfing inferno of one of the sets of the weekend. Led by Kate Davies, PUPIL SLICER are utterly relentless deliver of their brand of noisy heavy music with the likes of Wounds Upon My Skin, Vilified and Husk being aural battering rams that send the crowd rabid. Newest single Thermal Runaway is a clear highlight as the band soar and elevate themselves as not only one of the most exciting bands in heavy music, but as one of the most vital.

Rating: 10/10

OPETH – Arc

Prog rock and metal royalty wouldn’t be an exaggeration when describing OPETH. With their death metal days well behind them, their appeal is wider than ever – and yet, they have never compromised on the flamboyant musical flair which made them so interesting in the first place. A fitting headliner for a festival such as this, and the throngs lining the perimeter of the Arc tent seem to agree.

Like life, an OPETH set is just like a box of chocolates. You never know what you’re going to get. They open with Hjärtat vet vad handen gör from their latest (In Cauda Venenum) and from there it’s a whistlestop tour of their most cherished albums. Of course, not albums are made alike, and special reverence is given to Blackwater Park number The Drapery Falls. It’s a crowd-pleasing set, and the crowd are pleased.

No OPETH show would be complete without Åkerfeldt’s acerbic wit, and it’s out in full force this evening. Sadly no amount of good will is going to take the edge off the end of the show, which comes to an unexpectedly early end. It’s all rather abrupt, and remnants ruminate on the possibility of a delayed encore but, as the house lights come up, it’s clear that OPETH have left the building.

Rating: 7/10

Words: James Weaver, Jack Moar

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