{"id":96799,"date":"2024-08-28T10:00:59","date_gmt":"2024-08-28T09:00:59","guid":{"rendered":"https:\/\/alreadyheard.com\/staging\/?p=96799"},"modified":"2024-08-28T12:22:31","modified_gmt":"2024-08-28T11:22:31","slug":"live-review-arctangent-festival-2024","status":"publish","type":"post","link":"https:\/\/alreadyheard.com\/staging\/live-review-arctangent-festival-2024\/","title":{"rendered":"Live Review: ArcTanGent Festival 2024"},"content":{"rendered":"

From what started as a small gathering to celebrate all that is left-field in alternative music, the\u00a0ArcTanGent Festival<\/strong> has now grown to become a noteworthy fixture of the UK and European festival calendar. As it celebrated its 10th birthday, we headed to Fernhill Farm near Bristol for a packed four days of music.<\/p>\n

Wednesday<\/h2>\n

After a brief viewing of Sheffield’s post-black metallers\u00a0Hidden Mothers<\/strong>, fellow Yorkshiremen\u00a0Din of Celestial Birds<\/strong> played to a growing, showcasing their poignant brand of post-rock. Allowing everyone in attendance to ease themselves into the first day. their set provides moments of tranquillity that erupt into soaring walls of noise with precision. In contrast, Belgian prog metallers\u00a0Cobra The Impaler<\/strong> revel in a mix of progressive metal with Ace Zec’s drum work especially sounding fantastic. Thijs De Cloedt and James Falck produce some dizzying riffs, resulting in the first circle pit of the weekend.\u00a0Likewise,\u00a0Psychonaut<\/strong> displays some impressive riffs. The Belgian trio is backed up by a pulsating rhythm duo that brilliantly escalate into prog metal jamming sessions, that are easy to get wrapped up in.<\/p>\n

Having been created for\u00a0ATG<\/strong> in the past, it makes sense that\u00a0Curse These Metal Hands<\/strong> to get involved with the decade-marking anniversary. The group, consisting of members of Conjurer and Pijn, produces all mighty moments of sprawling post-metal, thriving in a sea of sharp guitar solos and dense rhythms. At times they can also be dissonant, stirring with pensive post-rock flourishes.<\/p>\n

Danish mob\u00a0LLNN s<\/strong>teely bashes the fuck of ATG<\/strong> with deep growls, a thunderous bass line, and rough chugging guitars. Add to that industrial glitchy electronic elements, and you\u2019re left with a venomously sharp outing.<\/p>\n

\"Bossk
Photo Credit: Carl Battams<\/figcaption><\/figure>\n

Diving into older material with a few covers thrown in, Bossk<\/strong>\u2019s first of two sets over the weekend overcame some early very minor sound issues. Sounding as sharp as ever, there is a rumbling groove amongst chugging guitars and Simon Wright\u2018s ferocious screams. While \u2018Menhir\u2019<\/em> wonderfully sees them transition to cinematic post-metal territory with a soundscape to match.<\/p>\n

Like Bossk, And So I Watch You From Afar<\/strong> played two sets over the weekend. The first of these, a fan-voted\u00a0set, closed the opening night of\u00a0ArcTanGent<\/strong>. As they go from the winding energy of\u00a0‘Search:Party:Animal’ <\/em>to the density of\u00a0‘Clench Fists, Grit Teeth… Go!’<\/em>, you can’t but appreciate their capabilities. Effortlessly segueing into each number with finesse, the Northern Irish band creates a compelling spectacle that stretches to all parts of their 20+ year career.<\/p>\n

Thursday<\/h2>\n

It\u2019s good to be reacquainted with Itoldyouiwouldeatyou<\/strong>. Their ditzy brand of indie\/emo music kicks off the second day with a fairly decent turnout for their late-morning set. Blending old and new material, ITYIWEY<\/strong> show flashes of twiddly math-rock and midwestern emo with energetic flashes. New song ‘Moscow in Silent’<\/em> threatens to rumble and erupt, but driving guitars soon take charge. While closing number, ‘Get Terrified’,<\/em> is always pleasing to hear.<\/p>\n

A walk over to the Yohkai sees Manchester\u2019s Pleiades<\/strong> in full flow. Joshua Edmondson\u2018s jazzy bass lines, Andrew Calderbank\u2018s screams and distortion guitars pull in a packed tent. Caffeine-laced post-hardcore blasts provide an early morning. While \u2018Amos Clift\u2019<\/em>s restrained build is done with tension, and duly pays off. Playing to a busy tent, I wouldn’t be surprised if this isn’t the first or last time we see\u00a0Pleiades<\/strong> at\u00a0ATG<\/strong>.<\/p>\n

\"unpeople
Photo Credit: Jonathan Dadds<\/figcaption><\/figure>\n

Playing in one of ATG\u2019s smaller tents, Unpeople<\/strong> open to a packed tent, showcasing their bouncy brand of \u201cpop-metal\u201d. Early on there\u2019s some sound issues, meaning the quartet lack the oomph they need. These are soon forgotten as \u2018waste’<\/em> soars as hot as the beaming sunshine. For a festival that doesn\u2019t cater to big choruses, Unpeople<\/strong> fill that void easily, making them a tight, irresistible outfit, especially on \u2018Pressure\u2019<\/em>. If they keep delivering songs this good, they\u2019ll be elevated to the bigger tents in a flash.<\/p>\n

Having embraced a grungy alt-rock sound on thire latest album, ‘Ceremonia’<\/em>, Blanket<\/strong>\u2019s large sound fits in well in the spacious Yohkai stage. Melancholy melodies with blaring guitars and a hint of intensity is the menu Blanket<\/strong> serve. \u2018Porcelain\u2019<\/em>s energetic bounce melts away into gorgeous atmospheric guitars, before radiantly coming back to life. Add to that stringent riffs, rooted in shoegaze, to the party as Blanket<\/strong> mark their third year in a row at ATG<\/strong> as a success.<\/p>\n

Japanese art rockers Bo Ningen<\/strong> are another name with a longstanding connection to ATG<\/strong>. Their main stage outing goes from thriving with glam rock grooves, and the next working their way through misty psychedelia. Ending with a dizzying wall of distortion, \u2018Daikaisei Part II, III\u2019<\/em> pushes the quartet to their psych rock limits.<\/p>\n

A walk over to the Bixler stage sees\u00a0Urne<\/strong> promising to play some heavy metal and that\u2019s what they do with a chest-rumbling ferociousness. Specialising in filthy riffs and heavy bass lines, Urne<\/strong> wallows in cathartic darkness. The London group bulldoze their way through, taking the award for heaviest band of the weekend.<\/p>\n

\"Julie
Photo Credit: Joe Singh<\/a><\/figcaption><\/figure>\n

Julie Christmas<\/strong>\u2019 set starts with an eerie atmosphere before erupting with bombastic riffs. Her bandmates are thunderous as the New York redhead screams and sings her way through her set. Demonstrating her acrobatic range, with a magnetic presence, Christmas and company showcase the exceptional ‘Ridiculous And Full Of Blood’\u00a0<\/em>in a compelling light. Album\u00a0highlight, \u2018Supernatural\u2019<\/em> is as impactful and enthralling as it is on record. Likewise \u2018The Lighthouse\u2019<\/em> is one of the most captivating offerings of post-metal all weekend.<\/p>\n

The uniquely named Cats and Cats and Cats<\/strong> are on the comeback trail with this being only their second show back. They provide some twangy emo math rock to the day. It\u2019s complemented by a rich violin, an occasional horn, and several beach balls knocking about. It creates a feel-good vibe to the early evening. Tracks such as\u00a0‘Young Person’s Guide to Becoming a Rock Star’<\/em> and\u00a0‘Anchoress’\u00a0<\/em>highlight their succulent versatility.<\/p>\n

Baroness<\/strong> arrive in good spirits, appreciating the massive turnout for the Georgia group. With a career-wide setlist, the quartet provide a sonically swirling performance. Whether that’s Sebastian Thomson’s drum fills, Gina Gleason and John Baizley sharing harmonies, or thriving on guitars during\u00a0‘Isak’<\/em> as Nick Jost holds down the bass groove, Baroness<\/strong>‘s ATG<\/strong> debut sees them welcomed with open arms. Furthermore, March To The Sea,’<\/em>\u00a0‘Shock Me,’<\/em> and ‘Take My Bones Away’<\/em> sound absolutely huge. The latter rounding off another impressive outing for\u00a0Baroness<\/strong>.<\/p>\n

With projectors in place, Amenra<\/strong> provides a doom-laden spectacle. The brooding bass of\u00a0‘Boden’<\/em> gives way to a sea of black metal, as their set ebbs and flows with moments of trepidation. Headbanging blasts drag the bleak parts kicking and screaming into the light. The Belgian outfit are one of the most compelling acts of the weekend.<\/p>\n

\"Explosions
Photo Credit: Joe Singh<\/figcaption><\/figure>\n

After politely introducing themselves and setting out their plan to play for the next hour and 20 minutes, tonight’s main stage headliner, Explosions In The Sky<\/strong>, takes us on a mesmerising post-rock journey. Luscious sections weave their way to dramatic crescendos, building a wall of noise in the process. \u2018Your Hand In Mine\u2019<\/em> is simply beautiful and poignant, and is one of many moments that the ATG<\/strong> crowd get lost in. While some festivals rely on theatrics for their headline act, ATG<\/strong> is different. EITS<\/strong> are able to produce a spellbinding narrative without a single word uttered.<\/p>\n

Friday<\/h2>\n

Day three starts with a viewing of the entertaining and insightful \u2018Two Promoters One Podcast\u2019 <\/em>Podcast. A walk over to the PX3 stage sees local Bristolians HAAL<\/strong> play a stirring mix of off-kilter post-punk that broods with anxiety.\u00a0‘To Be A Machine’<\/em> wallows in gloomy experimentation, before\u00a0‘Blank Sleep’\u00a0<\/em>ends the set with its ominous, cold tone.<\/p>\n

Jazzy bass lines, dizzying guitars, and polyrhythmic tempos are what the technically proficient Asymmetric Universe<\/strong> thrive on in the Yohkai tent. The Italian trio are textured in their execution, firmly leaning into the math-tinged prog rock, with frantic fret play aplenty.<\/p>\n

A late call-up to the festival, El Moono<\/strong> pulled in a big crowd into the PX3 tent. Showcasing their impressive debut album, ‘The Waking Sun<\/em>‘, the quartet brand of alt-metal highlights their ability to utilise headbanging grooves, luscious harmonies, and relentless riffs.\u00a0‘Forced to Smile’<\/em> twists and turns before the assured ‘Chains’<\/em> closes things with an unhinged hint.<\/p>\n

Up until this point, there hadn’t considerably been a poor performance all week. However, that streak came to an end with Fange<\/strong>. The French quartet’s mix of industrial metal and hardcore suffered microphone issues early on. While a reliance on a steely drumming backing track makes for a jarring outing. In contrast,\u00a0Iress<\/strong> showcase a gorgeous blend of doom and shoegaze. Led by the impressive lungs of Michelle Malley, the Los Angeles swell as they bring tracks from the recently released ‘Sleep Now, In Reverse’<\/em> to\u00a0ATG. <\/strong>Enthralling by an atmospheric, at times cinematic, sound, Iress<\/strong> has certainly won over some new admirers from this outing.<\/p>\n

\"Year
Photo Credit: Carl Battams<\/figcaption><\/figure>\n

For Every Hell, they unfortunately clash with French outfit Year of No Light<\/strong>. Their main stage set sees them perform a brand of instrumental post-metal that ascends with towering guitars, a dense bass, and two sets of penetrating drums. It makes for a compelling and heavy 50 minutes. By the time they reach their 15-minute-long finale, YONL<\/strong> is as expansive and as immersive as ever.<\/p>\n

Night Verses<\/strong> are equally riveting as the Californian\u00a0instrumental alt-metal trio deliver a tasteful and impactful set. Each member, guitarist Nick DePirro, bassist Reilly Herrera, and drummer Aric Improta, are allowed to shine collectivly and individually. Kinetic percussion, and polyrhythms are executed with a virtuso quality, meeting expectations.<\/p>\n

Texas trio Glassing<\/strong> revelled in blackgaze, being as heavy as they could possibly be. They’re a powerhouse force in the PX3 tent, and the relatively small crowd are dedicated, moshing their way through a mix of steady-paced sludge and chaotic black metal. \u00a0Scott Gossman stands out for his impressive drum work, adding fire to Glassing<\/strong>‘s chaotic moments. Likewise, Frail Body<\/strong> prove to be equally ferocious. Although guitarist Lowell Shaffer’s vocals suffered from being mixed low, Nicholas Clemenson’s frantic drumming along with Nic Kuczynski’s stinging bass guitar made up for it. Both\u00a0Glassing\u00a0<\/strong>and\u00a0Frail Body<\/strong> provided a heavy taster of tonight’s main event.<\/p>\n

The Yohkai tent is spilling out on each side as ATG<\/strong> favourites Delta Sleep<\/strong> return with their ditzy take on indie math rock. With harmonious melodies and plucky rhythms, the Kent group produce an upbeat and joyful set. Add to that the occasional breezy moments such as new track ‘Sunchaser’<\/em>, and you’re left with a pleasing soundtrack for an early Friday evening.<\/p>\n

\"Blood
Photo Credit: Derek Bremner<\/figcaption><\/figure>\n

While many acts over the weekend are here to showcase their musical prowess,\u00a0Blood Command<\/strong> are here to throw a party. Taking to the PX3 stage, the Norwegian outfit provides repeated shots of cocaine-laced adrenaline-fuelled punk-tinged hardcore and metal. Aussie vocalist Nikki Brumen is a ball of energy, overcoming pre-show anxiety after being groped at a recent show. For her, the energy and response given by this intimate crowd lead to her striding around the stage with confidence and joining the crowd during the final songs. Her Adidas-wearing bandmates blast their way through an array of riffs and breakdowns, as she barks and screams her head off while fans get wrapped up in their chaos.<\/p>\n

NYC outfit Show Me The Body<\/strong> are gritty and intense as they bring some heavy synth-infused hardcore punk to ATG<\/strong>. Vocalist Julian Cashwan, armed with his electric banjo, is visceral in his vocal delivery, stomping around the stage. Although the fatigued crowd aren’t entirely engaged, that doesn’t stop the trio from giving their all.\u00a0‘We Came To Play’<\/em> rumbles thanks to bassist Harlan Steed and drummer Jack McDermott.<\/p>\n

\"Meshuggah\"
Photo Credit: Derek Bremner<\/figcaption><\/figure>\n

Despite headlining here just a couple of years ago, Meshuggah<\/strong> clearly did something right as the main stage is absolutely packed out in anticipation for their return. Their prolonged introduction gives way to a stunning light show and sharp, jagged riffs. Quickly showing why they\u2019re masters of heavy tech metal with an intense and technically proficient set, Jens Kidman’s vocals tear through the musical density served up. While calling Tomas Haake\u2018s drum work dynamic would extremely be an understatement.<\/p>\n

Throughout, complex rhythms pulsated with every ounce of intensity. By the time\u00a0‘Bleed’<\/em> begins their encore, it’s clear Meshuggah<\/strong>\u00a0<\/strong>demolished\u00a0ATG<\/strong> with a battering ram shudder, only for\u00a0‘Demiurge’<\/em> to deliver one final chaotic blast.<\/p>\n

Saturday<\/h2>\n

Welsh instrumentalists Fort<\/strong> are given the opportunity to open the final day of ATG<\/strong> with their brand of bright post-rock. While stylistically they hit all the right marks, Fort<\/strong> have a tendency to be somewhat formulaic. Nevertheless, there\u2019s clearly plenty of promise and show enough about them to be engaging and ease weary heads into Saturday.<\/p>\n

\"Vower
Photo Credit: Derek Bremner<\/figcaption><\/figure>\n

With only a few songs readily available, Vower<\/strong> proves to be an enticing pull for many of the ATG<\/strong> crowd. Playing in the Yohkai tent, Josh McKeown\u2019s vocals soar above the post-hardcore charge his bandmates conjure up. Collectively, the quintet are sharp and convincing with closing pairing\u00a0‘Eyes of a Nihilist’<\/em> and\u00a0‘Shroud’<\/em> highlighting their anthemic capabilities.<\/p>\n

Round two of Bossk<\/strong> sees them deliver a considerably more atmospheric set. However, the broad riffs of ‘Atom Smasher’ <\/em>are just as meaty, adding to the grand scale executed. This is emphasised on final song, ‘Lira’<\/em>. Meanwhile, ‘Events Occur in Real Time’\u00a0<\/em>is given a rare outing, adding to feral energy to\u00a0Bossk<\/strong>‘s main stage outing.<\/p>\n

ArcTanGent<\/strong> has a history of including off-the-cuff names. Scaler<\/strong> are one of these this weekend. Mixing pulsating electronica with the occasional riff, they produce an enticing set on the main stage. Accompanied by intriguing visuals, there\u2019s a layered and hypnotic quality to what the industrial techno band does.<\/p>\n

Having teamed up with Conjurer on Wednesday as part of Curse These Metal Hands, Pijn<\/strong> stepped up as a late addition. Producing a powerful display of instrumental rock, they\u2019re another fine example of what can be done with little words. Musically composed and rich in their execution, providing an enchanting and intimate set.<\/p>\n

Playing an album that is eight days old is a brave move but And So I Watch You From Afar<\/strong> brings \u2018Megafauna’<\/em> to life with poise and energy. Having already played here this weekend, and being a regular feature of ATG<\/strong>, the crowd have a longtime appreciation and respect. Like many bands across the weekend, the musicianship on show is superb. The Northern Irish band returned the appreciation for the people of ATG<\/strong>, calling the festival a \u201cSpiritual home for this band\u201d<\/em>.<\/p>\n

\"Brontide
Photo Credit: Derek Bremner<\/figcaption><\/figure>\n

Fellow instrumental rockers, Brontide<\/strong>, exceeded expectations as they played their first show in seven years. Opening with the pensive ‘Tonitro’, it gives way to the rapturous ‘Bare My Bones’<\/em>. Tim Hancock thrives on guitar as William Bowerman pounds away on drums and Nathan Fairweather rides the groove on bass guitar. By the time they play the fret-tapping\u00a0‘Arioso’<\/em>, any signs of rust are firmly shredded. The trio are clearly rejuvenated and delighted to be playing music together again. Comeback track,\u00a0‘Mineral’<\/em>, seamlessly fits in alongside older cuts before\u00a0‘Matador’<\/em> closes out a triumphant return.<\/p>\n

Some may suggest stoner rockers Electric Wizard<\/strong> aren’t quite your\u00a0usual<\/em> ATG <\/strong>band. Nonetheless, as main stage sub-headliners, it’s clear they have a strong following amongst the ArcTanGent\u00a0<\/strong>masses. Accompanied by sleazy B-Movie visuals and bathed in red lights, they provide a sprawling, fuzzy set. Tracks such as\u00a0‘Black Mass’<\/em> and\u00a0‘Time To Die’<\/em> are swollen by vintage sludgy metal, that eventually wears thin for those passing by.<\/p>\n

\"Caspian
Photo Credit: Joe Singh<\/figcaption><\/figure>\n

Caspian<\/strong> was the ideal palette cleanser ahead Mogwai’s headline set. Undoubtedly influenced by the latter, the Massachusetts group close out the Yohkai stage with a near-perfect display of post-rock. Much like their peers in Explosions In The Sky, they show their song craftsmanship, building mountainous soundscapes with poise and precision. A definite late entry for the set of the weekend.<\/p>\n

After being one of the festival’s most asked-about acts for 10 years, Mogwai<\/strong> finally made their ATG<\/strong> debut. There\u2019s no doubt you can appreciate the influence and artistry the Scottish band has had. However, there seems to be an absence of grandeur when compared to the previous night’s headliners. Sure, there are impressive, steady builds that segue into walls of noise. Yet when you\u2019ve witnessed offshoots of the Mogwai<\/strong>\u2019s influence do it better, the impact doesn\u2019t quite meet the desired effect.<\/p>\n

Nevertheless, when the Glaswegians do hit their stride, you can really appreciate them. Both for their influence and for how they can effortlessly flip between different styles and textures. One moment you’re captivated by ‘Every Country’s Sun’s<\/em>\u00a0breezy build, the next rocking out to\u00a0‘Like Herod’\u00a0<\/em>and\u00a0‘Old Poisons’<\/em>. Throughout, they sound crystal clear, making up for their lack of presence.<\/p>\n

\"Photo
Photo Credit: Joe Singh<\/figcaption><\/figure>\n

Conclusion<\/h2>\n

ArcTanGent 2024<\/strong> was a fitting celebration of the 10 years that have come before it. Bringing together a healthy dose of post-rock, math, post-hardcore, metal, and more in various forms and guises, it exemplified that you don’t need to put on a show full of pomp and circumstance to make an impression. In its place is a widespread appreciation for great musicianship, and how music can stir up an emotion and connect, even without a single lyric sung.<\/p>\n

At its core, community is the reason for ArcTanGent<\/strong>‘s longevity. The open mindset of its audience continues to embrace eclectic and intriguing arms of left-field music to the\u00a0ATG<\/strong> sphere. This year was no different and was balanced out by a host of familiar and reliable names.<\/p>\n

ArcTanGent<\/strong> has carved out its distinct place in UK festival market, and on this evidence, it is sure to continue to prosper for years to come.<\/p>\n

4.5\/5<\/h3>\n

ArcTanGent Festival 2025<\/strong> will take place near Bristol from Wednesday, 13th August to Saturday, 16th August 2025.<\/p>\n

Tickets are available\u00a0here<\/a>.<\/p>\n

Find out more about\u00a0ArcTanGent Festival<\/strong>\u00a0on:\u00a0Website<\/a>\u00a0|\u00a0Facebook<\/a>\u00a0|\u00a0X (Formerly Twitter)<\/a>\u00a0|\u00a0Instagram<\/a>\u00a0|\u00a0TikTok<\/a>\u00a0|\u00a0Spotify<\/a>\u00a0|\u00a0Linktr.ee<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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