ArcTanGent Festival 2024: The Review – Thursday

Should anyone in the portaloos parallel to the PX3 be experiencing any stubborn bowel blockages, there’s no doubt that Hundred Year Old Man loosen things up a bit. Complemented with the kind of bass that threatens to dislodge your spine before it slips out your bum, the doomy sludge yob rival last night’s LLNN when it comes to bastard heavy density and foreboding dread. It’s a hell of a noise, one that does carry the crawling sense of unease that makes this genre genuinely unapproachable and intimidating for some, but goodness is it brilliant. The midday sun may have emerged and be beating down on an unusually warm Fernhill Farm, but within the confines of a max capacity PX3, Hundred Year Old Man command what seems to be thousands gathered with ease and just sound timeless.

Over in the Elephant, if Bristol’s Sun Spot aren’t currently on the radar of ArcTanGent’s tastemaking crowd then this set will surely raise a few eyebrows. Ramming math tinged pop, industrial metal and soft R&B inspired emo into each other at full speed, frontman Will Palmer delivers a performance nestled comfortably between Oli Sykes and T-Pain playing delay, autotune and other vocal effects like an extra instrument. The track ‘Keepsake’ from the band’s Working Memory EP is a standout, contrasting lush atmospheres and bouncy grooves with a raw, post-hardcore energy. Keep an eye on Sun Spot, their wild mishmash of genres is bound to catch the attention of the wider alternative community soon.

Back under the canopy of the Bixler, Bicurious strut their stuff. They may be a last minute addition following The Sad Season dropping off the lineup, but the Dublin duo must know they’re truly welcome here anytime given the massive turnout here today. As pair swagger through material from I’m So Confused there’s absolutely no mystery to why this wonderful band have been invited back for the third year on the trot. In a way that’s on par with last night’s headliners, this is the kind of instrumentalism that warrants pits, crowdsurfing and even singalongs to riffs; rare qualities in a genre often plagued by stoicism. But one of the best parts of this set come with the airing of new material that feature ‘proper’ vocals as opposed to the usual “whoa-ohs” that are common place in this type of post rock. These tracks may be a more digestible – even more approachable – but they still carry the same sense of progressivism that makes this once instrumental band so brilliant. Don’t be concerned about it, Bicurious are entering a new area but they’re still the same band we all know and love that will that will no doubt be back here again next year.

Following some unfortunate technical issues that rob Aiming For Enrike of the majority of their set time, Urne have got riffs in spades and they’re not afraid to showcase their arsenal. Unfortunately for them, the guitar starts off far too low in the mix, robbing much of their power. Regardless, their bass is thunderous and Joe Nally’s vocals are as forceful as ever. Becoming the Ocean roars into life with its chorus melody even without much audible guitar, though their solos do still stand out. Angus Neyra continues to prove himself one of the best guitarists around, the likes of The Burden and Desolate Heart putting that prowess on display without ever sacrificing great songwriting. It’s only the first time Urne have played ArcTanGent, but on a set this strong, it won’t be the last, even with technical gremlins similar to those seen by unpeople rear their heads again.

Photo Credit:

Jonathan Dadds

It’s four months early, but true to her name Julie Christmas is in fact dressed as a Christmas tree as her set opens with a track from one of her very first bands Battle of Mice. Her voice switches effortlessly from high, haunting melody to feral shrieks in a captivating performance, as Cult of Luna’s Johannes Persson also provides his apocalyptic roar on occasion alongside guitar. Tracks from this year’s excellent Ridiculous and Full of Blood are just as captivating, particularly Supernatural with its towering chorus. It’s not all spleen-venting post metal; there’s moments of folk and art pop sprinkled throughout her idiosyncratic, cathartic sound that elevate both the songs and her set from great to utterly spellbinding. She might have been away for some time, but this is a royal return to form from one of the best and more eclectic voices in our world and an easy highlight of the weekend.

As well as a handful of tearful goodbyes (we’re still not ready to say goodbye to Three Trapped Tigers) this weekend also has a few old friends pop in for the first time in a while including math rock oddballs Cats And Cats And Cats. Reintroducing themselves with a simple “Hi, we’re back” the six piece, including a violinist and trumpet player, take to the stage wearing crocheted cat ears and exploded into a pastel cacophony of math rock energy. The crowd of dedicated fans, many also wearing cat ears for the occasion, greet the band as if this isn’t their second show following a decade long hiatus. It’s possibly the most wholesome set of the weekend, but anyone would agree that the real star of the show was the small child brandishing boxing gloves who joined the band on stage to punch beach balls resembling cats in space helmets into the ecstatic crowd.

Something a bit less pleasant back in the Elephant however. ArcTanGent has always celebrated the far extremes of music, but when Squid Pisser were announced some had to double take at the name, be intrigued, then realise that they might have to prepare for something on another level. Having only formed in 2022 they have quickly honed in their chaotic quite honestly mentally bizarre style. This is the most energetic set of the weekend by some distance, with vocalist Tommy Meehan (also of monstrous metal band GWAR) making regular trips into the crowd to up the fever dream that is occurring. This is relentless mathcore at full ham.

Over in main, Baroness need no introduction, barrelling into Last Word with zero fanfare but to deafening cheers. It’s an immediate hit, with crisp sound that lets the guitar and vocal harmonies shine. John Baizley’s voice is as commanding as ever, his gravelly tones grounding their progressive wanderings as the band take the main stage on a tour from old fan favourites through to last year’s Stone. Each thunderous riff feels heavy enough to shift tectonic plates, while those proggy detours offer a balm of sorts before Baroness bring the hammer back down. There’s no need for any bells or whistles beyond the (stellar) light show, the songs so deeply embedded in fans’ minds and hearts that all it takes is a couple of notes to set off singalongs like Purple’s Shock Me (“I bet you know the words to this one,” Baizley grins before it). Chlorine & Wine is utterly arresting, as the rain falling outside the tent only heightens its emotional pull. As they often remark, this feels like a special show for Baroness; it’s their first time here, and they’re greeted with a warm and enthusiastic welcome as they stack their set list chock full of their most stunningly wrought melodies.

Photo Credit:

Carl Battams

Finishing off a grand trio of sludgey, stoner esque metal, Red Fang apologise for bringing ‘the rain from the Pacific North-West’. But what they also bring is a set full of certified bangers, enough bangers to go around the packed Yokhai as the tent fills to the brim. With a small run of shows before this afternoon, this is the first ‘proper’ time they have been back to these shores since 2017 (barring a singular Download appearance in ‘22) and they do not disappoint. Straight in with ‘Hank Is Dead’, ‘Blood Like Cream’ & ‘Malverde’, they are not messing about. The latter received with rapturous applause to match Bryan’s roar. Watching Red Fang is like jumping in that beaten up truck, smashing a few cans with your mates and flying by any issues in your life. Truly one of the best at what they do. Leaving the best to last they close with ‘Prehistoric Dog’ which is returned with a huge singalong and every head banging ‘kissing your arse goodbye’ to that gross weather beyond the walls of the Yokhai.

A late addition to the lineup after chaotic jazz duo Clown Core’s departure, icons of 90s neo-psychedelic indie Spiritualized may have stuck out on a lineup alongside Meshuggah, Electric Wizard and Baroness but surely left with plenty of new fans after this main stage set. The nine-piece band, including two guitarists, a keyboard player and a trio of gospel style backing singers alongside frontman Jason Pierce, swirl together 90s Britpop and indie with a wall of ‘60s inspired psychedelic noise against a backdrop of disco lighting and tasteful whirlpools of red light on the video wall. Pierce manages to deliver a mesmerising stage presence despite remaining seated due to health issues and avoiding many of the band’s biggest hits, bringing a hypnotic charisma to the band’s deceptively complex sound.

Speaking of Clown Core, following their cancellation, many knew it was going to packed within the PX3, the second smallest stage of the festival, for Author and Punisher. However no one anticipated a sudden downpour compounding matters. With the stage well and truly at max capacity a good 30 minues before the set, one may think that the tent is just filled with those seeking shelter from the predicable ArcTanGent rain we all know and love and not from the one-man drone machine set to come. Clearly that’s not the case as they lurch into ‘Drone Carrying Dead’ and ‘Incinerator’. Encased in machinery of his own making and joined by guitarist Phil Sgrosso, Author and Punisher tonight sound like a decaying industrialist soundtrack for a grey and dismal dystopia; all true fitting given the steel clouds and miserable weather. Whilst they may be crushing, nihilistic and perfectly play into the hands who those longing for heavy music beyond the parameters that typically define it, what makes Author and Punisher so brilliant is the presentation. As home made drone machines pulsate and pound, Author and Punisher look and sound like an alien life form trapped in machinery that only they can understand, and in turn, respect. It’s a unique set; no other act on this bill looks or sounds like this, and all, it’s brilliant soundtrack to a grey festival, the forthcoming industrialist collapse or the most terrifying kink club possible.

Speaking of weird kink clubs, despite clashing with post-metal giants Amenra, Birkenhead based hardcore punk/drum & bass collective Tokky Horror pack out the Elephant stage for their penultimate show together. It’s clear from the get-go that Tokky Horror are at ArcTanGent for a good time even if they couldn’t be here for a long time, flying out the gate with fan favourite ‘HAMMER 2 THE FACE’ before going off the rails with unpredictable remixes of ‘California Love’ by 2Pac, ‘Sorry You’re Not A Winner’ by Enter Shikari and even interrupting their own song ‘Toilet’ to “put a banging donk on it”. Without a single crack appearing in their whirlwind energy the four-piece make the most of their final festival set, putting their all into both crowd pleasers like ‘Girlracer’ and ‘Sleeper’ and festival exclusive track ‘Destruction’ Tokky Horror’s party hard attitude will be remembered for years to come.

Photo Credit:

Jonathan Dadds

Closing out the PX3 stage for the day is the duo of brothers Sejersen from world destroyers LLNN. Not satisfied with blowing ear drums and brains with a singular focal point, they shift into the industrial, electronic come partially gabba influenced dance area that is John Cxnnor. A project built around the duo inviting various guest vocalists to add harsh elements over beats and music you wouldn’t first expect at ArcTanGent. This evening they have in tow their LLNN bandmate Victor Kaas, Kim Song Sternkopf (MØL) and the UK’s own David Dee of Hundred Year Old Man. Starting eerily with mysterious deep electronic sounds they burst onto stage. With a backlit stage focusing light on the audience mainly and cutting silhouettes on stage, the PX3 becomes a nightclub from the future. A Saturday night in a city far away where dance and post-metal collide in a beautiful amalgamation of sounds. As the vocalists three chop and change in iterations adding their own flavour to the night, the beats keep coming from Ketil and Rasmus. From headbanging to two stepping (not the hardcore way) the audience are well onboard. With tracks like ‘M25’ and ‘Sunwalker’ this feels like a new industrial revolution. This is the future of music.

As for tonight’s main stage closer, it’s only natural that Explosions In The Sky are headlining tonight. After all, it’s the 10th birthday celebration of not only this festival, but the community it has cultivated over the years. You want a band that represents what makes this place and the people that make it special. All three headliners do that, but no one quite resonates the left-field spirit and beauty of ArcTanGent quite like these pioneers. Returning for their second headline slot following their 2017 debut, post-rock pioneers Explosions In The Sky forgo gimmicks, newfangled experimentation and even the giant LED screen on-hand in order to do what they do best; present emotive post rock in the most genuine way possible.

Opening with ‘The Birth and Death of the Day’ prior to elegantly transitioning into classics such as ‘Catastrophe and the Cure’ and the timeless ‘Greet Death’, the band’s delicate and authentic approach to post rock sounds as moving as it did when they originally championed the genre all those years ago. Yes, whilst the thought of a purely instrumental band headlining a 10,000 capacity festival may sound strange to some beyond the ArcTanGent community, it’s impossible not be immersed and fully invested in the gentle movements and climatic crescendos that bind this band’s seamless craft. Even choice new cuts such as ‘Loved Ones’ and the uptempo ‘The Fight’ from their most recent record End sound timeless despise their more direct and immediate approaches. But of course, it’s the grand finale of the post rock masterpiece and blueprint that is ‘The Only Moment We Were Alone’ that truly rightfully warrants the biggest reaction, it’s climatic smash cut at the end leaving all those in awe as they embrace loved ones or even strangers in this magical moment.

The world may have changed since the last time they were here 7 years ago. The people, both and off stage have no doubt changed. This very festival has certainly changed when thinking back upon the smaller Arc stage the band played upon their last visit. But the power of Explosions In The Sky remains unchallenged, unwavering. In a way like no other, this is a band that articulates the whole spectrum of human emotion without the need of the limited nature of language. It’s another beautiful set from the Texans, and one that wouldn’t be right if it was missing from the 10th celebration of this festival.