FESTIVAL REVIEW: ArcTanGent 2024

On a mid-August weekend, one of the most diverse and exciting festivals in the UK kicks off for another year – that’s right, it’s time once again for ArcTanGent Festival. Starting life as a post-rock festival, ArcTangent has grown into a celebration of all alternative music with a touch of experimental. This includes everything from shoegaze to doom metal, with plenty of left-field artists in between. The festival’s tenth birthday bash has a stacked lineup, featuring the originators of djent MESHUGGA and post-rock pioneers MOGWAI. Of course, we had boots on the ground to catch sets from some of our faves and discover plenty of bold new acts along the way.

Wednesday – August 14th

HOST BODY – Yohkai Stage

The job of kicking off ArcTanGent 2024 goes to local noise rock outfit HOST BODY. The Bristol five-piece combines elements of black metal and mathcore in a challenging mix of abrasive sounds – in other words, it’s the perfect opener for this daringly experimental festival. HOST BODY’s epic songs go down well, winning over some new fans amongst Wednesday’s early attendees.

Rating: 8/10

HIDDEN MOTHERS – Yohkai Stage 

Sheffield’s HIDDEN MOTHERS have been on an undeniable ascendancy over the last 12 months, getting signed to Church Road Records and landing huge support slots including the recent one day festival curated by EMPIRE STATE BASTARD. Their triumphant set at last year’s ArcTanGent seems to have lit the fuse to their recent explosion, making their return this year even more fitting. The four piece approach the occasion with suitable aplomb, firing through choice cuts from their upcoming album Erosion / Avulsion, starting with savage debut single Defanged. It’s a set of contrasts as blast beats give way to tense passages of post-rock, Luke Scrivens trading tender vocals with Liam Knowles’ gruff bark on Still Sickness. By the time they bring out DEVIL SOLD HIS SOUL/COPSE frontman Ed Gibbs for Violet Sun, they have the crowd eating out of the palms of their hands. Yet another triumph for these talented Northmen. 

Rating: 8/10

DIN OF CELESTIAL BIRDS – Yohkai Stage 

Post-rock instrumentalists DIN OF CELESTIAL BIRDS are another band whose upward trajectory over the last year cbe charted back to the buzz they created during a single 30 minute set at ArcTanGent 2023. The release of their fantastic album The Night Is For Dreamers also helped and as the sun beams through the sides of the Yohkai tent this afternoon, there’s a feeling of celebration in the air. The band are clearly having fun up there, infectious grins beaming across each member’s face as they wring out joyous melodies from their instruments, guitarist Tom Hazelhurst  spinning like a whirling dervish during the rousing refrains of Junebug. The Royksopp style bleeps and bloops on Utopia sound lush against the jangly guitars. They’re not afraid of a big riff either, these birbs, as they show on Laureate Of American Lowlife and Downpour.

Rating: 8/10

COBRA THE IMPALER – Yohkai Stage

Even this early on in the festival the quality of performances on display has been nothing short of impressive, but it’s COBRA THE IMPALER who up the stakes in terms of production, draping the stage in an enormous backdrop adorned with the cover art for new album Karma Collision. Opening with Season Of The Savage, the Belgians give a tight, highly polished performance and it sounds like the people at the sound desk are really hitting their stride as the Belgians have the crispest mix of the afternoon so far. The comparison of their sound to MASTODON is undeniable, but let’s be honest there are worse bands to sound like and there’s enough original flair in songs such as The Message, with its frantic thrash attack, to keep things interesting. The first moshpit of the weekend opens up during the double-kick assault of Mountains and keeps raging until the closing refrains of the savage Scorched Earth. Powerful stuff. 

Rating: 7/10

PSYCHONAUT – Yohkai Stage

Belgian post-metal trio PSYCHONAUT are up next, and they don’t disappoint. The group deals in lengthy, epic journeys of songs, taking the audience through a rollercoaster of emotions on tracks like Violate Consensus Reality. There’s more than a bit of TOOL in their winding, rhythmic riffs, but their doomily beautiful crescendos help differentiate them from their peers.

Rating: 9/10

CURSE THESE METAL HANDS – Yohkai Stage

“ATG 24 you know who we fuckin are!” exclaims CTMH drummer John Vernon as he strides onto the stage. Yes we do, John. Yes we do. This is the fourth time they’ve graced the stages of Fernhill Farm since this supergroup made up of members of PIJN and CONJURER was formed for the specific purpose of playing ArcTanGent 2018, and it seems like each time they return is more highly anticipated than the last. They ham up their entrance, taking their places one by one, the crowd reciprocating their salutes and beaming smiles before blasting into Endeavor with suitable ferocity. Until now the band only has one EP of released music so it comes as a nice surprise when they play a brand new song, seemingly written just for this occasion. The three guitarists Joe Clayton, Brady Deprose and Dan Nightingale fire out their trademark harmonies and although that trademark may actually belong to BARONESS, nobody minds them borrowing it for the afternoon. They even get the crowd involved, splitting them into three, giving each third a different note to sing and creating their own choir. It may have been written as a pastiche of BARONESS, but even John Baizley would be hard pressed to write a song as glorious as High Spirits. CURSE THESE METAL HANDS, we salute thee. 

Rating: 9/10

LLNN – Yohkai Stage

Chances are if you were at ArcTanGent last year and you didn’t see LLNN’s set, you heard about it from someone who did, such was the impact of their planet-crushing sci-fi doom. As soon as their colossal grooves commence it’s clear that they’re here to deliver something just as astonishing this time round. There’s been a lot of smiles and good vibes so far this afternoon but now it’s time for stink faces and pure sonic oppression. The weight of their downtuned riffs and metallic soundscapes verges on being overwhelming but there’s enough kinetic energy in the underpinning rhythms to lift the compositions to the point of levitation. At one point most of the band down tools leaving vocalist Christian Bonnesen to prowl the stage alone against the industrial noise scape of The Horror. When they return they bring MØL frontman and JOHN CONNXR bandmate Kim Song Sternkopf with them for Desecrator. If there was a competition for “heaviest riff of ATG 2024” the devastating closer Obsidian would be in with an early chance of taking the crown.

Rating: 9/10

Thursday – August 15th

UNPEOPLE – Bixler Stage

Given the media adulation garnered by UNPEOPLE’s incredible self-titled EP, and coupled with the fact that ArcTanGent/2000 Trees promoter James Scarlett has been singing their praises on his 2 Promoters 1 Pod podcast, it’s understandable that the Bixler tent is packed this early on Thursday morning. It’s unfortunate, then, that there are gremlins in the mixing desk during opener Waste, which cause all but the backing vocals to be inaudible. Thankfully, the issue is fixed by the end of the song and the rest of the set sounds as thumping as their huge songs deserve and the London quartet are able to fully live up to the hype surrounding them. Their winning formula of crunchy, stomping riffs, catchy singalong choruses and lush harmonies is the perfect festival fodder and despite being relative newcomers they control the crowd like seasoned pros. It’s life affirming stuff. Songs like the heavy as balls Smother and the soaring Moon Baboon were made to be played on stages much bigger than Bixler and if they keep putting in shifts like this one, it won’t be long until UNPEOPLE are doing exactly that. 

Rating: 9/10

HUNDRED YEAR OLD MAN – PX3 Stage

HUNDRED YEAR OLD MAN’s emotionally wrought, blackened post-metal is the kind of stuff that ArcTanGent audiences lap up, so it’s surprising that they are only now making their debut at the festival. There is a certain poignancy to them finally being here on the ten year anniversary, given the tragedy that surrounded the band when lynchpin member Owen Pegg passed away in 2021, and the fact that ArcTanGent was high on his wishlist of festivals to play. They do his legacy proud, firing into Disconnect from 2018’s Breaching album after a tense and brooding intro. The sound is all enveloping, the shrieking tremlo picked guitars cutting through a low end that threatens to loosen the fillings from your mouth. It’s a masterclass in post-metal songcraft, each song undulating between measured and emotive quieter passages to downright nastiness, layer upon layer of melody and discordancy being deftly applied to their sonic canvas. Frontman David Duxbury is on especially fine form, bounding across the stage like a man possessed, at one point jumping down to the barrier to deliver his unholy roar right into the faces of the front row. If ever the future of HYOM was uncertain, all doubts are put to rest by the showing of a devastating, as-yet-untitled new track, before the 13-minute finale, Livyatan cements their place as one of British post-metal’s most exciting bands. 

Rating: 9/10

BLANKET – Yohkai Stage

James Scarlett could be heard singing the praises of BLANKET‘s latest album Ceremonia on an episode of 2 Promoters 1 Pod a few months back – and with good reason; it’s brilliant – so it came as no surprise that he was quick to draft them in when EARTHSIDE dropped out. They frontload the set with a couple of choice cuts from the album, Porcelain and Euphoria, filling the air with wafts of 90s brit-rock and grunge. They play into the nostalgic elements of their sound by using a tongue-in-cheek sample to introduce the latter track which sounds like it could be taken from a show like The Word or The Big Breakfast. It’s their deftly applied use of electronics though that provides a delightful modern sheen to their sound. There’s a laid-back charm to their delivery with frontman Bobby Pook donned in sunglasses and baseball cap, his microphone stand adorned with flowers, and the sound is impeccable thanks to sound tech extordinare Marios Sozos who even gets a name check during their set. Blue Eyes sounds lush, the bass drops hitting like a slap on the back from a good friend, and Where The Light Takes us sounds like DEFTONES at their sexiest. It’s unfortunate that there aren’t more people in the tent to hear it though, and the lack of atmosphere slightly hinders them from being able to elevate their set to greatness, but it’s solid nonetheless. 

Rating: 7/10

BO NINGEN – Arc Stage

It doesn’t take long for things to get weird on Thursday, as Japanese experimental collective BO NINGEN take to the main stage. The quartet’s psychedelic noise rock features intense, rhythmic song structures that eventually give way to melodic riffy climaxes. It’s an acquired taste to be sure, but those who get the group’s abrasive style are absolutely rapt throughout.

Rating: 7/10

URNE – Bixler Stage

“We’re gonna play some heavy fuckin’ metal” promises URNE frontman Joe Nally before they kick into opener Becoming The Ocean and that they absolutely do. Although one of the more traditionally metallic bands on the lineup, there’s enough intricacy and experimentation in their songwriting to warrant them a place on the ArcTanGent bill. Plus last year’s phenomenal album A Feast On Sorrow, from which they take the majority of their set, was such a breakthrough hit that any promoter would be silly to pass on the chance to have them play. The mid-paced slab of galloping groove metal that is The Burdon gets every head in the packed tent head-banging. Even the parrot that’s inexplicably perched on the arm of one punter looks like he might get involved at one point. The chugging brutality of A Feast On Sorrow is slightly marred by a muddy mix but the pummelling drums manage to cut through enough to keep the momentum levels high. They revisit their 2021 debut Serpent and Spirit and close with Desolate Heart which veers from frenetic tech-death brutality to smooth, creamy lead lines and back again. It’s a masterful display that makes it clear why they’ve been sharing stages with the likes of GOJIRA of late. 

Rating: 7/10

JULIE CHRISTMAS – Arc Stage

Part art project, part band JULIE CHRISTMAS might not be for everyone but they’re certainly not boring. Combining horror movie-style monologues and heavy throngs of sludge metal guitar, the New York solo artist take the audience on a journey through some truly chilling soundscapes. It’s undoubtedly strange, but what results is an incredibly powerful performance that’s impossible to tear your eyes away from.

Rating: 8/10

CATS AND CATS AND CATS – The Bixler Stage

After an assault of heaviness from some of the earlier bands, CATS AND CATS AND CATS are an pleasant change of pace. CATS AND CATS AND CATS are a math rock band with plenty of emo and indie influence – think a less technical but more immediately accessible TTNG. The spirited performance is as dynamic as it is endearing.

Rating: 8/10

CONAN – Yohkai

Over the decade of its existence ArcTanGent has garnered itself a reputation as the festival for the chin-strokey, the avant garde and the cerebral so it’s refreshing to see a band as brutish as CONAN come dragging their knuckles across the stage. Judging by the response from the crowd, a hefty slab of caveman battle doom is exactly what the doctor ordered. Their music may be slow, grinding and primitive but there’s a sense of urgency to tracks like Satsumo that elicits some of the most violent moshpits of the weekend. The setlist is weighted towards the quicker, more energetic end of their expansive back catalogue, so when they pick up the pace on Levitation Hoax, utter devastation ensues. You wouldn’t necessarily think of CONAN as a band you can dance to but it’s hard not to get your groove on to the tribal bounce of Ritual Of Anonymity, which has shades of early SOULFLY. They close with fan favourite Foehammer which absolutely levels the place. Not a chin was stroked but a lot of good, mindless fun was had. 

Rating: 8/10

KAONASHI – PX3 Stage

It doesn’t get much more chaotic than KAONASHI. They’re also hard to categorise, mixing elements of prog, post-hardcore, metal, and emo into one intense melting pot. While their music is emotional, bordering on melodramatic, the Philadelphia collective’s set is interjected with light-hearted moments, with frontman Peter Rono dropping in meme-y soundbites (“damn son, where’d you find this”) and throwback hip-hop tracks (“e’rybody in the club gettin’ tipsy”) in between his high-pitched, KNOCKED LOOSE-esque screams. 

Rating: 7/10

BARONESS – The Arc Stage

Judging by the number of punters roaming the sun-dried grass in fresh off the merch desk BARONESS shirts today, it’s abundantly clear that they’re one of the more highly anticipated bands on the lineup. They open with the jagged, head down riffage of Lost Words which rouses an impressive sing-along for such a relatively new song, followed swiftly by Under The Wheel, also from 2023’s Stone. With a couple of new songs out of the way, the rest of the set is dedicated to choice cuts from the rest of their colourful back catalogue. Horse Of Golgotha gets an airing before a triumphant rendition of Shock Me, which sees guitarist Geena Gleeseon gleefully bounding the stage and striding atop the monitors. John Baizley explains how Chlorine And Wine was written about a hard time in the band’s history, which makes its soaring refrains all the more cathartic. The Gnashing and Sweetest Curse both sound magnificent but it’s the finale one-two punch of Isak and Take My Bones Away that prove exactly why they were so hotly anticipated this weekend. The deluge that seems to have appeared from nowhere during their set only adds to the atmosphere, and let’s face it, it wouldn’t be ArcTanGent without a spot of torrential rain. 

Rating: 9/10

SPIRITUALIZED – Arc Stage

Possibly the only band to have appeared both on Jools Holland and at ArcTanGent, SPIRITUALIZED are an influential psychedelic rock band that burst onto the scene in 1990 and has been a pioneering force in the scene ever since. Jason Pierce and co put on an incredible show, complete with backing gospel singers who elevate the space rock anthems into the stratosphere. It’s very different from the rest of today’s fare and speaks to the diversity on offer at ArcTanGent.

Rating: 7/10

AUTHOR & PUNISHER – PX3 Stage

With the cancellation of CLOWNCORE providing a clash-free evening for fans of dark and twisted electronic madness, the PX3 tent is predictably packed for one man noise machine Tristan Shine AKA AUTHOR & PUNISHER. Technically two-man this evening as he’s brought session guitarist Phil Sgrosso to fill out his terrifying compositions on guitar. The man himself is stood at the helm of his control centre, racks and racks of keyboards, consoles and wires while Sgrosso prowls the stage, the pair backlit in a wash of bloodred light, while searchlights pulsate, projecting organic patterns across the ceiling of the tent. Sonically, it’s the soundtrack to an industrial apocalypse, drum machines throwing out metallic clangs and crashes underneath throbbing bass lines and buzzsaw guitars. It’s a slow and brooding build which culminates in the utter filth of Nihil Strength. 

Rating: 8/10

TEXTURES – Bixler Stage

After calling it quits in 2017, progressive metallers TEXTURES have returned for a run of festivals, much to the delight of riff fans everywhere. The Dutch five-piece deliver their technical riffery with passion and precision attracting throngs of die-hard fans and intrigued newcomers alike. The winding guitar leads of Reaching Home are a great showcase of Bart Hennephof and Joe Tal‘s immense talent, and Singularity makes for a powerful closer.

Rating: 8/10

TOKKY HORROR – Elephant In The Bar Room 

Birkenhead rave punk crew may have had to cancel last year but if anything the timing this time round couldn’t be more perfect. Currently on a final ever run of festival shows before they call it day completely in September, they’re on a mission to leave on a high and they play with a level of abandon that seems unfathomable even for them. The band and the thousand strong crowd are here to party like their lives depend on it. Bandleader/producer Zee Davine has brought the bonkers beats to do just that, throwing out everything from jungle, drum n bass and hip hop to donk, gabber and happy hardcore. Live guitarist Drian Nash brings the riffs while the firecracker MCs whip the crowd into a frenzy with chants of “Free Palestine” and “Fuck Paul O’Grady”, and leaping into the crowd for the last song. They leave stage to the refrains of hardcore classic Castles In The Sky. The rave is dead, long live the rave. 

Rating: 8/10

EXPLOSIONS IN THE SKY – Arc Stage

EXPLOSIONS IN THE SKY begin their set with humility – “when we saw our names at the top of the poster, we thought a mistake had been made” – but the moment that the Texan post-rock legends kick into The Birth And Death Of The Day, it’s clear that no such mistake occurred. The band’s epic instrumental odysseys sweep the audience away in a hail of shimmering tremolo guitar picking. When it comes time for the euphoria of Your Hand In Mine, we find ourselves wishing it could never end. Thankfully, the six-piece’s most famous song is followed up by a further three tracks – finishing with The Only Moment We Were Alone – a soaring epic that warms the heart and stirs the tears.

Rating: 9/10

Friday – August 16th

MODERN TECHNOLOGY – Bixler Stage

Perhaps it’s a little early for the hangovers to have fully cleared, or the fact that the drum kit seems to be falling to bits throughout their set but something just doesn’t seem to connect during MODERN TECHNOLOGY’s set. The duo attack their oppressive blend of doom and noise rock with plenty of aggression but barring a fervent following in the first few rows, something just seems to be missing that fails to fully engage the audience. There are still moments of brilliance here and there though, and the sheer racket that they’re able to conjure with just bass, drums and a bit of sound design is nothing short of impressive. Dead Air sounds particularly savage and gives a glimpse of what this band is actually capable of. 

Rating: 6/10

EL MOONO – PX3 Sage

Local lads EL MOONO are a late addition to the lineup having been drafted in to replace BIPLOAR ARCHITECTURE and as soon as the immense riffage of Illusionists kicks in it’s clear they’re here to capitalise. New album The Waking Sun has been bothering many an Album Of The Year list already, and the way they translate those songs live is sure to have them on ‘Set Of The Weekend’ lists of those in attendance. The Charm sounds gorgeous, with frontman Zac Jackson pouring every once of his charisma, uniqueness, nerve and talent into the haunting refrain. Almost every band on the bill has voiced their gratitude at being able to play ArcTanGent but Jackson is visibly emotional while doing so, with a tear in his eye and a wobble in his voice, and he nearly loses it completely when the crowd join the rest of the band in a round of happy birthday for him. He commands the crowd to kneel for the breakdown of the crushing Chains and they happily oblige, giving everything they have for its bouncing nu-metal tinged riffage. 

Rating: 9/10

IRESS – Bixler Stage

Since their formation in 2017, Church Road Records and ArcTanGent have been the perfect bedfellows and given the sheer beauty of their Sleep Now, In Reverse album, it’s clear to see why LA’s IRESS are on both rosters. They mesmerise the sizeable crowd with their dreamy doom-gaze, led by the soaring and impassioned vocals of frontwoman Michelle Malley, set against a wall of guitars and underpinned by a weighty rhythm section. The raw power and emotion Malley puts into the chorus of Falling is nothing short of astonishing, especially given how demure she comes across when she gives her quiet thank yous in between songs. The band showcases their versatility when they bring out the colossal riffs of The Remains, but it’s when Malley ditches they guitar to leave everything on the stage for closer Wolves that everyone in Bixler is wholly and unconditionally enamoured with these bright young souls.

Rating: 9/10

EVERY HELL – PX3 Stage

It’s a hard and fast rule of music that anything can be made better by the addition of saxophone. EVERY HELL proves this rule applies to doom metal, as they blend elements of pop into their dark and foreboding songs, resulting in a unique blend of smooth melodies and ripping heaviness.

Rating: 8/10

OUTRUN THE SUNLIGHT – Yohkai Stage

All the way from Chicago, Illinois comes progressive metal outfit OUTRUN THE SUNLIGHT. This quartet embraces their moment, running through some stunning instrumental jams complete with the kind of fretwork that would make a Guitar Centre employee blush. Despite odd time signatures and challenging song structures, the impressive band wins over the audience with their infectious enthusiasm. 

Rating: 9/10

THREE TRAPPED TIGERS – Arc Stage

Mixing math rock time signatures and electropop synths, THREE TRAPPED TIGERS sound like something out of science fiction fever dream. THREE TRAPPED TIGERS deal more in soundscapes than song structures, delivering delightfully weird blasts of noise rock directly into the faces of an unsuspecting audience. The effect is something akin to dropping LSD while falling up an escalator (that’s a good thing).

Rating: 9/10

NIGHT VERSES – Yohkai Stage

Post-metal trio NIGHT VERSES have been picking up some serious heat lately, most notably earning a co-sign from TOOL, supporting them on an arena tour. It’s not hard to see why, as the Californians’ angular riffs thrill and captivate ArcTanGent’s mid-afternoon crowd. Smatterings of spoken-word samples do just enough to spark the imagination and weave a narrative (if an abstract one) through the set, elevating it past a simple display of immense talent.

Rating: 9/10

FRAIL BODY – PX3 Stage

As you can guess by the name, FRAIL BODY deals in darkness. The ragged wails of frontman Paul Shaffer are dripping with pain and poignance, tearing over the swelling crescendos, It’s almost too much to bear at points. We haven’t seen such a raw, emotional screamo since DEFEATER first hit the scene.

Rating: 8/10

DELTA SLEEP – Yohkai Stage

DELTA SLEEP presents an accessible way into math rock – their odd time structures blend perfectly with grooves and licks that wouldn’t be out of place in a more mainstream alternative band. Then there’s the smooth voice of frontman DEVIN YÜCEIL that guides listeners through its winding paths. Their live performance is stunningly tight and the talent is undeniable. Fabulous stuff.

Rating: 9/10

BLOOD COMMAND – PX3 Stage

80% Norwegian, 20% Australian and 100% pure energy, BLOOD COMMAND are on a mission of World Domination if the title of their latest album is anything to go by, their main weapon being pure sonic joy. They drip with swag, clad head to toe in Adidas and are led by one of the most charismatic frontwomen in rock-n-rock, the pocket rocket that is Nikki Brumen. She makes use of every millimetre of her stage, bouncing around one second, writhing against the lighting rig the next as she belts out the huge hooks of bangers like Saturday City and Quitters Don’t Smoke. Stylistically their sound is an intoxicating mix of crossover thrash, pop punk, power pop and EDM all played with such ferocious intensity that it’s hard not to catch a contact buzz off their supply. Brumen makes an emotional speech about how she was groped at a recent festival show and how although the trauma has made it hard to even get on stage, she feels ArcTanGent is a safe space. The crowd shows her nothing but support, and when she leaps into the crowd during Decades it’s just as much a show of empowerment and mutual respect as it is showmanship. If all their sets are as joyful and moving – both physically and emotionally as this, then world domination is not far off the horizon for BLOOD COMMAND. 

Rating: 10/10

ANIMALS AS LEADERS – Arc Stage

Fretboard wizards ANIMALS AS LEADERS don’t waste any time, emerging onto the main stage to the epic strains of Tooth And Claw from their 2014 breakout album The Joy Of Motion. Assisted by some mind-bending visuals on the screen behind them, the Californian trio rip through a set of polyrythmic djent bangers with almost inhuman technical precision. As the exhilarating set draws to a close, frontman and fretmaster Tosin Abasi takes a second to thank the audience before asking where he can find some mushrooms to consume while watching tonight’s headliners MESHUGGAH. We don’t know if he meant Shiitake or Portobello, but we sure hope he found some!

Rating: 9/10

PLINI – Yokhai Stage

The technical showcase continues over on the Yohkai Stage, as Australian virtuoso PLINI takes to the stage. In contrast to some of the other bands performing today, PLINI’s music is largely serene and uplifting, combining major key melodies with heavy rhythm guitar and stunningly complex leads. Plini Rosessler-Holgatei’s laid-back personality makes the performance all the more enjoyable, inviting the audience to be swept up in the ethereal voyage. “You can move if you want to, but otherwise just relax and enjoy,” he lilts before kicking into the towering melodies of I’ll Tell You Someday. The audience might not be stirred, but their hearts certainly are.

Rating: 9/10

MESHUGGAH – Arc Stage

The Arc Stage is the most packed it’s ever been as the Swedish djent powerhouse MESHUGGAH take to the stage. There’s electricity in the air and it sparks a bomb to go off as soon as the opening notes of Broken Cog kick in. The elastic bounce of Rational Gaze into the feral aggression of Perpetual Black Second get the pit reacting accordingly. Not that there’s much room for much moshing though. Most of the crowd seems content to stand packed like sardines, their jaws on the floor as they take in the absolutely inhuman display of precision happening before their eyes. It’s as if a fleet of cyborgs were sent back in time to destroy the human race armed only with guitars and drums. As expected, the light show is nothing short of mind boggling, the beams and strobes flashing in perfect sync with every drum hit and twang of each riff, creating an all encompassing spectacle almost as overwhelming as the music. 

A mid-set break in the form of eerie instrumental Mind’s Mirrors being played over the PA is much needed after the worryingly violence Born In Dissonance. The next 20 minutes or so are spent in the enthral of the epic two-piece In Death – Is Life and In Death – Is Death. We’re then taken right back to where it began with the proto-nu-metal of Humilitive before the chugging assault of classic, Future Breed Machine. Despite being their most popular song by far, it’s never a guarantee that the Swedes will include Bleed in the set, so it’s understandable that the place goes off as soon as that galloping riff is dropped. There’s just about enough energy in the collective tank for the colossal groove of Demiurge, leaving punters well and truly pummelled.

Rating: 10/10

Saturday – August 17th

TORPOR – PX3 Stage

The hangovers are strong as Saturday begins and what better to clear the cobwebs than with some crushing post-doom? TORPOR kick off proceedings in suitably grim fashion, building a mountain of sound from lumps of pure obsidian. When the crescendo reaches its ear piercing peak the structure crumbles, crushing all who stand beneath it. 

Rating: 6/10

LOVE SEX MACHINE – PX3 Stage

You could build a pretty solid AOTY list just from bands on this year’s lineup who’ve put out albums in 2024, and LOVE SEX MACHINE’s Trve would surely be near the top. Dense and punishing on record, the intensity levels are pushed to breaking point in the live setting as they grind out the pummeling mid-paced grooves on tracks like Fucking Snakes, Body Probe and Test26. The low end of their downtuned sludge riffs is especially monstrous with Yves’ fry screams piercing through the mire. Just when wave after wave of unrelenting doom is starting to get overbearing, they shift gears for the final song, revisiting their self titled debut and blasting through the power violence of Plenty Of Feelings. 

Rating: 8/10

WUW – Bixler Stage

French outfit WUW combines post-rock song structures and foreboding doom metal soundscapes to create an immersive sound that envelopes the audience in its gloomy grip. The set is a slow burn, but once the songs hit their epic crescendos, you can’t help but be swept up in the intensity.

Rating: 6/10

VOWER – Yohkai Stage

Although they’ve only released an admittedly brilliant four song EP so far, the fact that VOWER have members of ArcTanGent royalty BLACK PEAKS, PALM READER and TOSKA amongst their ranks is enough to bring a sizeable crowd to Yohkai. It’s ‘an exciting amount of people’ according to frontman Josh McKeown (PALM READER), and the excitement is reciprocated en masse. Their blend of melodic post-hardcore and prog metal is the perfect fodder for ArcTanGent so while the band’s lineup may have brought the crowd, it’s the quality of the songs that keeps them enraptured. A new band they may be but they play like the seasoned pros they are. McKeown is in especially fine voice, belting out the huge choruses on the likes of False Rituals and Eyes Of A Nihilist. Guitarists Rebea Massad and Joe Gosney trade riffs and lead lines backed up by the pummelling rhythm section of Liam Kearly and Rory Mclean. They let loose on the final song Shroud in all its twisted, proggy magnificence and prove that while their former bands may be no more, there is a bright future for this project. 

Rating: 8/10 

ÀNTEROS – PX3 Stage

ÀNTEROS (not to be confused with the British indie pop band of the same name) have come all the way from Barcelona to rock the PX3 stage, and rock it they do. Their intense brand of alternative rock mixes the raw emotional vocals of screamo bands like DEFEATER with the soaring soundscapes of shoegaze, with some smatterings of soaring clean choruses thrown in for good measure. It’s a potent mix, and sounds fantastic in ArcTanGent’s smaller tent. Definitely ones to watch.

Rating: 7/10

KEN MODE –  PX3 Stage

Part of the beauty of ArcTanGent’s lineups are that so many bands refuse to fit into a single genre. KEN MODE are one of those bands. It’s difficult to define what they do. There’s the grinding repetition of doom, the unhinged dissonance of noise rock, the fuzzy guitar tones of sludge, the controlled chaose of hardcore and even some jazz saxophone. What is for sure though, their music is heavy, unrelenting and utterly captivating. If their music wasn’t menacing enough, frontman/guitarist Jesse Matthewson serial killer stare only adds to the intensity of the performance. 

Rating: 7/10 

SILVER MOTH – Yohkai Stage

Post-rock collective SILVER MOTH are up next, who count MOGWAI’s Stuart Braithwaite among its members. The group is firmly placed in the atmospheric sector of this sub-genre, playing sombre, at times mournful music shot through with beautifully expansive uplifting moments. Elisabeth Elektra’s haunting and delicate vocals shine in this captivating performance.

Rating: 8/10

SCALER – Arc Stage

The addition of more electronic acts to the ArcTanGent roster in recent years has been a genius move. Not only is the crowd open minded enough to embrace these kinds of acts, but also after a long weekend of fuzzy guitars, guttural roars and blast beats, a throbbing synthetic bassline over a 4/4 beat is the perfect palate cleanser. SCALER (formerly SCALPING) have paved the way in this respect, having played the festival three times before, so it’s not surprising that this time round they’ve been promoted to main stage and have brought a sizeable crowd with them. Shapes are being thrown left right and centre to their industrial disco stomp, with songs in the first half of the set sounding like they wouldn’t be out of place in a CHEMICAL BROTHERS set. It takes a more sinister turn in the second half as they introduce chugging riffs, dubstep elements and even alternative hip-hop, with DAEMON‘s rapped verson on Tether being played as a sample. As challenging as it is refreshing, adrenaline levels are suitably high as the afternoon turns to evening.

Rating: 8/10

GOD ALONE. – Elephant In The Bar Room

This Irish quintet’s abrasive style of post-metal is chaotic, unpredictable, and occasionally beautiful. GOD ALONE.’s set comprises new material, as well as some cuts from their 2022 debut ETC, all jumbling together in one invigorating, proggy jumble. While their turbulent tunes won’t be for everyone, the Elephant In The Bar Room attendees can’t get enough.

Rating: 7/10

AND SO I WATCH YOU FROM AFAR – Arc Stage

AND SO I WATCH YOU FROM AFAR are a post-rock band who refuse to be contained by the hallmarks of their genre. In a genre that’s often marked by its dependency towards the melancholic, the Northern Irish outfit embrace dynamism, embracing the light with the dark and often veering wildly between the two with uncontainable energy. This is certainly true of the band’s latest LP Megafauna, which today they play in full. Even though the band had performed a more hits-focused set earlier in the weekend, it’s still a little disappointing to the crowd that missed that set to not get to experience bangers like Big Thinks Do Remarkable.

Rating: 7/10

BRONTIDE – Yokhai Stage

Instrumental post-metal band BRONTIDE called it quits six years ago to pursue other musical projects, but after reforming earlier this year and releasing new music, they’re back at ArcTanGent to grace us with their presence. The group are clearly masters of their craft, delivering heavy-hitting riffs and grooves, laced with ethereal synths. Welcome back, boys.

Rating: 8/10

EARTHTONE9 – Bixler Stage

On paper, EARTHTONE9’s set should be one of the more highly anticipated of the weekend considering that the festival itself is named after one of their seminal 90s albums, but bafflingly the tent is only half full. Unfortunately, today just doesn’t seem to be their day. For starters, the mix is all over the place, with the vocals barely audible one minute and overly loud the next. Singer Karl Middleton even admits to the band needing to warm up as it’s been a while. The sound does improve as the set goes on, and they do find their groove, especially on fan favourite Tat Twam Asi, which is getting its second outing of the weekend after BOSSK covered it on Wednesday. “We have three songs left” announces Middleton however as further proof that something’s not quite right, they only play two, closing with Black Swan Roulette and The Etiquette of Distortion from the just-released In Resonance Nexus album. Legends they may be, but today’s performance is less than legendary. 

Rating: 5/10 

ELECTRIC WIZARD – Arc Stage

The ‘WIZ can be a risky booking for a festival promoter as let’s face it, they can be hit and miss. They’re just as capable of being vital and powerful as they are dull and shambolic. Thankfully, as the drawn out intro to Return Trip rings out it becomes clear they’ve arrived at Fern Hill Farm in fine fettle. They’ve brought with them a stage production to boot, making use of moody backlighting, a cinema screen’s worth of visuals and a smoke machine so volcanic it wouldn’t be surprising if they downed flights from nearby Bristol Airport. Black Mass sounds veritably apocalyptic, a lesson in building abject terror with one riff, repetition and a ridiculous stack of amps, which continues into the crushing Time To Die. As the smell of the devil’s lettuce engulfs the tent, things take a more psychedelic turn as Jus Osborne fires into an extended creamy blues jam at the centrepiece of The Chosen Few, while the projections take the audience down the eye of a never-ending kaleidoscope. They dig in once again as they close with Funeralopolis, threatening to shake the Arc tent to the ground with every repetition of that gruelling riff. 

Rating: 9/10

CASPIAN – Yohkai Stage

The masters of post-rock return to ArcTanGent to demonstrate the power of this underrated genre. Using nothing but their instruments, CASPIAN paints vivid pictures with their epic, uplifting, atmospheric rock. The set opens with the paradoxically climactic Waking Season – the title track from the band’s breakthrough album, which envelopes all in attendance in its overwhelming swells. Without the need for vocals, or even any address to the audience, the Massachusetts five-piece sweeps all onlookers into their orbit with soaring anthems like Quovis and Flowers Of Light. Being on the smaller Yohkai Stage works in their favour as the experience feels even more immersive. The set draws close to its end with the furious drum solo of Sycamore, wherein AND SO I WATCH YOU FROM AFAR joins CASPIAN in an ever-expanding drum circle. It’s a special moment and one that we won’t forget.

Rating: 9/10

SLIFT – Bixler Stage

There are moments during the french psych-rock trio’s blistering set where it feels like they’re operating on a different plane of existence and connecting into some higher power, like at any minute they might start levitating, bringing the crowd with them. It’s both spiritual and visceral, that juxtaposition created by the interplay between Jean Fossat’s soaring and seemingly improvised lead work, and his brother Remi‘s solid, rolling basslines, both of which are underpinned by Canek Flores’ frantic, relentless drum work. Adding to the sensory overload is a their giant projector screen which pulsates with abstract monochrome patterns. In the 50 minutes they are on stage they get through five songs, each one a journey of groove, tension and release. The eastern tinged Ilion gives way to the darker, more doomy tones of Nihm before they unleash the wide-eyed bounce of Ummon. 

The meditative, chant-like intro of Altitude Lake serves as a nice mid-set breather, the crowd soaking up every drip of Jean’s wah drench soloing as it washes over them, before they let loose again with Lions, Tigers and Bears, which is essentially a fist in the air pop punk anthem with a ten minute acid freakout jam session as it’s centrepiece. The 12 minute extended psychedelic rock epic The Story That Has Never Been told whips the crowd into one final frenzy with its swirling solos and driving riffs. The festival may nearly be over but there is still time to have your face melted clean off.

Rating: 10/10

MOGWAI – Arc Stage

If you look up the term ‘post-rock’ in the Big Book of Sub-genres (which we just made up), there’s probably a picture of MOGWAI next to it. The Glasgow legends practically invented the genre with their boundary-pushing debut back in 1997, and have continuously reinvented it with every subsequent release. The quartet leave no stone unturned as they move through cuts from throughout their storied discography. This is no simple greatest hits set though, the Scots have carefully curated a setlist that demonstrates the diversity of their niche subgenre going from haunting to exhilarating to euphoric, in a way that only MOGWAI can.

Rating: 9/10

Words: Jack Ridsdale, Adam Robertshaw

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