FESTIVAL REVIEW: Macmillan Fest 2018 – Nottingham
One day. 62 of the UK’s most talented artists spanning the entire alt, rock and metal spectrum. One city. One incredible cause. Now in its ninth year and accompanied with a line-up of herculean proportions, Distorted Sound is absolutely thrilled to be in Nottingham for Macmillan Fest 2018.
One of the main issues with events of the all-day persuasion is early doors – which inevitably results in a depleted audience for the opening act. Well, not today. The clock has barely struck 1.40 and Rock City’s intimate Black Cherry Lounge is already swarming with punters chomping at the bit for openers AZAZEL (8). And the four-piece don’t just step up to the plate – they grab it and smash the absolute fuck out of it. With one hand grasping at the low-hanging ceiling, frontman JJ Spencer‘s eyes bulge and his body contorts as he bellows furiously at the baying throng beneath him. The mercury shoots even higher as hobbling BLACK INK talisman Sam Barson grabs a mic mid-set and enters the belly of the beast for an impromptu screamalong. Crutches are raised aloft, pits open and it’s very much a case of slam, bam, thank you ma’am. Throat-ripping shrieks and doom-laden belligerence are the order du jour and everyone’s relishing this beefed up slice of East Midlands deathcore.
There’s barely time to heave an exhausted breath and wipe away the omnipresent beads of perspiration before MISCREANT (7) hit the still shaking stage. The dictionary definition of their namesake depicts an individual fond of “behaving badly”, yet it is safe to say that these guys are the aural antithesis of such a moniker. Each and every one of the writhing onlookers here immediately embraces the sinister ambience and pummeling grooves that lurk deep within the blackened heart of this four-piece. With the nightmarish screams and gut-punching riffs of Let Tomorrow Die demonstrating a penchant for bottom end brutality, such unbridled intensity cannot be ignored either on record or in a live capacity – and voracious evidence of the latter is showcased in cranium crushing detail today.
We aren’t sure what’s coursing through the water around this particular neck of the woods but the proliferation of musical talent surging out of Nottingham itself is impossible to ignore. We had the distinct pleasure of introducing local lads A HUNDRED CROWNS (8) to the masses earlier this year and judging by the turnout, this is so much more than a mere hometown handshake. Raging through a setlist comprised of material from soon-to-be-released debut EP Maybe Lost, this is an energetic lesson in metalcore/post-hardcore. Gargantuan breakdowns, harmonious riffs and earworm choruses all collide on tracks like The Highs, Amber Rooms and Choices to produce equal parts anthemia and aggression. It’s another encouraging step towards an exciting future – which we would fully encourage anyone to be a part of.
“It’s good to be back!” HAGGARD CAT (8) beam addressing a jam-packed Rescue Rooms, and the ensuing reception is nothing short of riotous as the entire room proceeds to bounce along like demented jack rabbits to the duo’s fuzz-soaked stomp. Combining creative dynamism and the same DIY ethos synonymous with previous noisemakers HECK, this is a no frills, no holds barred and strictly bullshit free affair. Proverbial claws fully flexed, The Patriot explodes in a cloud of frenetic punk rock energy whilst elsewhere caps are doffed to the desert rock sensibilities of CLUTCH and gleeful faces are roasted by the sporadic bursts of lo-fi sizzle. Simply put, it’s a bonkers barrage of alt excellence courtesy of guitarist /vocalist Matt Reynolds and drummer Tom Marsh.
With such an abundance of talent featured on Macmillan Fest‘s line-up, we are forced to impersonate Usain Bolt more than once to make the mad dashes between venues. Thankfully, witnessing THE FIVE HUNDRED (8) lay waste to the entire room is worth losing the majority of feeling in the leg area. With rave reviews continuing to flood in for debut full-length Bleed Red, there’s a renewed sense of worth and self-belief emanating from the Nottingham/Gibraltarian wrecking machine. Both Smoke and Mirrors and Oblivion sound utterly colossal in this enclosed space and arms are held aloft as bassist Andy Crawford takes a momentary detour into the appreciative audience. Vocals that veer seamlessly between the clean and the caustic, choruses drowning in anthemic clout and a plethora of bludgeoning down-tuned grooves – there’s very little else that any modern metalcore aficionado could possibly warrant from a live performance.
Harnessing lush, layered harmonies combined with passionate melodic bursts and riotous guitars, EVA PLAYS DEAD (7) are an irrepressible combination of the raw and the raucous. It’s their first show on home turf since headlining nearby venue The Bodega to plug EP The Fix and their collective verve at being back is unmistakable. Sitting somewhere between modern contemporaries HALESTORM and MARMOZETS with an injection of classic rock nous, the Derby quartet fill and own every inch of available space. Inimitable frontwoman Tiggy Dockerty showcases her vocal chops during the evocative Get Back and her feisty attitude is supported (and ably matched in terms of sonic impact) via the band’s rhythm section backbone with riffslinger Matt Gascoyne leading the breakneck charge.
Opinions on bands will always differ, but one thing that everyone here can agree on is that the Red Rooms are incapable of hosting an act as monstrously commanding as PALM READER (9). And with every entrance to this minuscule room becoming impenetrable ahead of that 6 pm slot, disappointment flares and the aforementioned statement takes on literal meaning as even the band themselves struggle to fit on the stage. Sweat and sheer elation mingle before an exhilarating yet uncompromising soundtrack of British hardcore to once again reinforce third album Braille’s artistic potency; Swarm’s venomous urgency incites an erupting mass of bodies whilst the ambient melancholy of Inertia highlights their affinity for melodic intricacies. It’s a supercharged amalgamation of beauty and brutality deserving of a much bigger arena in which to unleash it.
The preceding overflow appears to have been redirected to the Rescue Rooms downstairs just in time for HOLDING ABSENCE’s (7) first set of the evening. Lyrics are bellowed back in rabid unison as the Cardiff crew lead all and sundry on an emotionally stirring journey; there’s an obvious sincerity to vocalist Lucas Woodward’s passionate exchanges with the crowd and they hang on to his every word. Chock-full of reverb-laden guitars, thunderous drums and slow burning melodies alongside the juxtaposition of searing cleans versus angst-ridden screams, this atmospheric post-hardcore package is one to be ripped open and embraced.
There’s one very simple reason for why these purveyors of fine tech-does-metalcore filth have been able to remain on many a radar for so long – fearless experimentation. And it’s allowed this so-called new breed to decimate their opposition. LOATHE (8) burn with the fire of a thousand suns over on the Stealth Stage as the quintet roll out an arsenal of riff-drenched maelstrom including tracks from across their discography. Raw and visceral, the sheer cacophony emanating from these Scouse natives is a malevolent joy to behold, but there’s also plenty of rousing choruses, glitchy electronica and lush vocals to offset the chaos. The barbarous all-consuming roars of Kadeem France clash gloriously with Erik Bickerstaffe’s powerful cleans. It’s a conceptual soundtrack plucked straight from the depths of hell itself – tonight, we all loathe as one.
It may just be an optical illusion, but we are pretty sure that the heaving confines of the Red Rooms are legitimately spinning during INVISIONS‘ (8/10) set. Pits quickly open up and bodies proceed to throw the hell down as York’s reigning metalcore mob invite the Nottingham faithful to join them on a thirty- minute joyride of rampant chaos. Clearly relishing the mayhem unfolding beneath him, wide-eyed vocalist Ben Ville teeters on the edge of the tiny stage as his enamel peeling screams are underpinned by crunching guitars. The biggest noise is still reserved for riotous banger Turn Up – and with grooves this weighty and a chorus that deserves a serious singalong, it’s an entirely justified reaction.
CLASHFINDER ALERT! Having to choose between BLACK PEAKS and MARTYR DEFILED is a decision that no music fan should ever have to make – Macmillan Fest, you are indeed a cruel mistress. As Distorted Sound is committed to bringing you the best of everything, the only viable remedy is to split the time between these two phenomenal headliners. Treading an innovative path that nimbly weaves leftfield prog and bursts of fiery aggression, when it comes to BLACK PEAKS (8/10) this is one serving of Brighton Rock that you’ll never want to reach the end of. Launching headfirst into an explosive Electric Fires (from upcoming sophomore release All That Divides), Will Gardner reaffirms his status as one of alternative music’s most dynamic frontmen. Joe Gosney’s discordant yet technically intricate riffs wrestle with a seamless mix of clean and abrasive vocals as the four-piece blaze through some of the most infectious cuts – including Crooks, Drones and Say You Will – from 2016 debut Statues. Bass slayer Dave Larkin and tub smasher Liam Kearley keep the rhythmic twists and turns coming and the Rescue Rooms masses captivated.
Hearts were instantly broken last September when MARTYR DEFILED (10/10) announced that they were calling it a day after ten years of flying the flag for UK deathcore. And it’s a surreal and bittersweet moment to see the Lincoln five-piece playing their final Midlands show in the very city where it all started. Unsurprisingly, the strobe-lit Black Cherry Lounge is bursting at the seams by the time we arrive back and necks are being happily snapped as far as the eye can see. Ecstatic bellows of “Freedom is a fucking lie!” reverberate around the dense air as Matt Jones invites the throng on a trip down memory lane and the MD Mafia segue into absolutely rabid An Act of Sedition. Approximately twenty seconds into No Hope, the frontman heads straight into the baying crowd and his barbarous roars are matched word for word as he thrusts the mic in various punters faces during Demons in the Mist. The monstrous breakdown during closer 616 sounds more akin to the ushering in of the apocalypse – and as bodies flood the stage to join their soon-to-be departing heroes, there are countless folks here who would probably go happy if this was to be their final moment. It’s a flawless end of an era and an example of just how to celebrate in the face of adversity.
Anyone gasping for a last call shot of metallic-edged prog stirred with melodic heft knows that lovable dive bar The Tap ‘n’ Tumbler is the only place to quench that thirst. And London’s TEMPLES ON MARS (7) are more than happy to serve the punters. The artists formerly known as AGENT have continued to win over the masses and pack venues since the release of their self-titled debut earlier this year, and tonight is no exception. Band bonhomie is clearly at an all-time high with James Donaldson the ever-affable frontman; engaging the crowd from the offset. Anthemic choruses and atmospheric soundscapes wrestle with rattling bassline slaps, whilst those sporadic bursts of avant-garde noodling hold your attention. The arena rock sensibilities of So In Love With Your Own Drug sound massive in such an intimate space and offer up hooks for days.
Thank you Mmacmillan Fest 2018 – it’s been loud and you’ve done the cause proud. Same time next year, yes?
