ArcTanGent Festival 2024: The Review – Saturday

Taking to stage for the second time this weekend are the prodigious Bossk, this time set to play just the ‘bangers’. The vast LED screen setting the tone by displaying meteor belts and the vast beyond, an electronic beat kicks in building the tension. As one of the most ‘ArcTanGenty’ bands they are greeted with a huge cheer as they take the stage to deliver some of the best post-metal about. Playing mostly tracks from fan favourite Audio Noir they march through ‘Kobe’ & ‘Heliopause’ and later on ‘Atom Smasher’. The classic Bossk repetition and ebbs & flows of their songwriting taking the audience on a journey through space and time. Fronted by their now permanent vocalist Simon Wright adding his roar to the already epic soundscape they have never sounded better. An added treat of ‘Events Occur In Real Time’ which has not been played live since 2008, this is a set for those die hard fans who have followed the growth of not just Bossk but this wider musical community.

Despite a brutal clash with fan favourites Bossk, Barcelona based post-hardcore quintet Ànteros launch into an incredibly passionate set full of dramatic riffs and throat-tearing screams. With dual vocalists Endika Pikabea and Rubén Martinez bouncing between vocal styles, Ànteros deliver a sound familiar to fans of California post-hardcore icons Touché Amoré but with a fuller, more technical sound thanks to their trio of guitarists. The band’s three guitarists are the stars of the show, blending sliding NWOBHM style harmonised guitar riffs with post-rock inspired ambience and ferocious tremolo picked riffs over a tight, locked in rhythm section. Ànteros boldly take on the challenge of playing a festival full of oddball bands like ArcTanGent, keeping their sound fresh with innovative guitar work and effortlessly complex rhythms without distracting from their two fiery vocalists.

Back in the Elephant, PEACH may have only released their stellar self-titled debut record last year but their output has already caught the attention of many. With their raw and honest sound, built on the stoner rock inspirations they so adore. The fuzz is dialled up to 11 with groove laden tracks such as ‘Bad Touch’ and ‘Already There’, the former with added cowbell which will never go unwanted. Vocalist Ellie Godwin with her signature vocal style and intense delivery she is also known for in other projects such as No Violet, give that kick in the nuts the audience might need on a last day at a festival. The weaving rhythms and pounding drums of ‘Dread’ are too enticing to ignore, even when they slow down in ‘I’m Scared’ this only draws you in further with their complexity.

Whilst PEACH capture the Elephant, KEN mode prove to be a uniquely visceral experience. The noise rock troupe weld bludgeoning guitars to industrial elements and dissonant saxophone, the resulting concoction being as confrontational as it is engaging. Naturally they fit ATG like a glove, and the crowd is spilling out the tent sides as the quartet deliver roiling, uncomfortable tracks that elicit huge cheers. Cuts from their latest companion albums Null and Void become increasingly claustrophobic despite the open setting, pulverising eardrums and psyches alike.

Over in the main it’s time for more retuning heroes and an act that has continued to grow with ATG – Bristol’s SCALER. The alt-dance band have proven themselves time and time again and deserve to finally grace the main stage. Taking advantage of the screen on which they project their mind bending visuals, they dance through their unrelenting back catalogue, keeping that train moving forward into the early evening. Tracks including ‘Loam’ and ‘Monolithium’ merge seamlessly into one long piece of energy. Bridging the gap between the ArcTanGent and dance related scenes, SCALER only deserve to keep their trajectory going skyward with performances like this.

Photo Credit:

Jonathan Dadds

Two years ago, Imperial Triumphant’s set was sadly marred by a mix that turned their avant garde black metal into a mire. This year, their bewildering cacophony fares far better with a stellar mix letting each of the trio shine. It’s still an absolute headfuck, with what sounds like multiple songs going on at once but that’s exactly as intended. In the rare moments the trio cohere, it hits like a truck, while other times it’s a mesmerising, mind-bending display. Heavily inspired by art deco and free jazz, the trio sound like an extreme metal band falling down the stairs in perfect lockstep and yet, despite making minimal sense on the surface, it’s impossible to look away from. Like them or not – it’s genuinely impossible to tell sometimes – they’re arguably the most fascinating band this weekend.

A late, but very welcome, addition to this year’s bill, Pijn are one of the UK’s most exciting and innovative post rock acts. Alongside the typical band setup, they incorporate strings and imaginative song structures that have more in common with classical music than many of their peers. The tent is rammed for them, a nice surprise given their late arrival on the lineup. It’s a well deserved reception given not only their enduring appeal but their stellar recent album From Low Beams of Hope they released on bandleader Joe Clayton’s own label Floodlit Recordings. It’s a shame that the cello is a little buried, but it’s a minor detraction from an otherwise excellent mix that accentuates the emotion and cinematic scope of Pijn’s music.

It’s a bit of a different story across site though – young, not dumb and ready to Kung…Fu?? Cork based God Alone are here to karate kick Fernhill Farm in the chops with some of the highest energy you’ll see all weekend on stage. From start to finish they are a non stop ball of energy. With their mix of Foals-esque indie math leaning into a heavier arsenal of riffs they have an entree platter that will appease all. The packed tent using some of its remaining energy to bounce along to ‘Kung Fu Treachery’, ‘ETC’ and ‘Peony’ all of which are knockout tracks.

Back under the Arc, it’s time for And So I Watch You From Afar. The post rock-icon’s second set this weekend, whilst their Wednesday set was a fan favourite set picked and chosen by those before them, this a set devoted to not only their new album Megafauna, but their people who helped inspire it; something that clearly translates to everyone before them today. A full album play through of the record that’s opened with guitarist Rory Friers pouring one out for those who can’t be here today, this set, much like everything else that ASIWYFA applies their name to, is pretty much perfect. As ‘North Coat Megafauna’ and Do Mór’ lead into the giddy energy and reversing dramatics of ‘Gallery Of Honour’ and both parts of ‘Mother Belfast’, this set makes all the sentiment, excitement, tenderness and sentimentalism that’s inherent to the record borderline physically palatable. It’s impossible not to feel the triumph of the aforementioned ‘Mother Belfast’, the bittersweetness of ‘Years Ago’ and the sheer emotion of finale ‘Me and Dunbar’. As people embrace both on and off-stage, this comes to pass as more than just standard festival set. This is a collective embracement of this community following the hardships it has endured in the face of the events of recent years. To say this set is truly special is not only an understatement, but redundant; this is one of those rare sets that characterises a festival’s legacy, a proper ‘I was there’ moment. There’s no denying that this will go down as a major moment in the annuals of post rock history.

Photo Credit:

Carl Battams

Without earthtone9, ArcTanGent wouldn’t even exist. With their welcome return this year, it makes perfect sense for them to be invited, though only being on the third stage is a surprise. Leading with The Polyphony of Animals off their latest album In Resonance Nexus, it’s immediately apparent the mix isn’t up to par with vocals hugely prominent and guitars barely an afterthought. It’s a huge shame given the hype surrounding the legends’ return, and one that mires the set in poor sound, robbing this return of any joy and leaving only disappointment for what should’ve been.

Thankfully things improve in the PX3. It’s been a hot minute since Gallops last played ArcTanGent. Several hundred thousand in fact, considering they haven’t played here since 2018. But much like Brontide next door, Gallops are back and making up for lost time. Opening with ‘Liquid & Envy’ prior to indulging in the throbbing baselines of ‘Darkjewel’ and ‘Boolean Who?’, Gallops are still the same irresistible proposition as they where back those years ago. Pulsating and gyrating their way through a set of bass heavy hits, their brand of forward thinking intelligent dance music as interesting as it is irresistible. As loops compound and fracture against riffs and percussion, it’s impossible to not even get engaged. Even the crusties in Napalm Death hoodies can’t help but groove to this. In a way that’s reminiscent of sets of old from Fuck Buttons and Scaler that this festival, this feels like ArcTanGent’s secret dance party, reserved for those only in the know; or at least if the Reading And Leeds dance tents where tailored towards weird pretentious beard stroker types.

Speaking of Brontide, with the words “ArcTanGent, we are back!” the instrumental rock trio make their triumphant return, celebrating their first show together in seven years. After performing at the very first ArcTanGent way back in 2013 they’re greeted back with open arms and a packed Yohkai tent when they brought their unique mix of experimental, danceable math rock to the stage. Making full use of all three members of the band with drummer William Bowerman controlling bouncy synth pads alongside his kit and guitarist Tim Hancock looping his guitar lines to fill out the three piece’s sound, particularly on new single ‘Mineral’ which made its live debut full of choppy synth hits, and punchy guitar riffs over a bed of dramatic ambience. You’ve never truly experienced ArcTanGent until you’ve heard a tent full of people singing along to an instrumental math rock track that hasn’t been performed live in close to a decade like when the trio break into their biggest hit ‘Matador’. There’s no two ways about it, Brontide are so back.

The eye-watering amount of smoke filling main main could only herald the arrival of one band; Electric Wizard. Backed by walls of Marshall cabs and a video backdrop depicting swirling psychedelic images and bloodcurdling classic horror clips, the UK’s most iconic doom metal band since Black Sabbath enter through a sea of mist and wailing feedback. Taking low and slow to its logical extreme ,the band pummel the packed tent with barrage after barrage of ear splitting bass and thunderous low-tuned guitar riffs. Electric Wizard kick their set into gear on the track ‘Black Mass’ with urgent, throat-shredding screams from frontman Jus Oborn over an infectious stoner metal groove, solidifying the band’s reputation as one of the loudest, most menacing names still going. While Electric Wizard may not be touring with Saturday night headliner Mogwai any time soon, their deliberately paced doom metal is the perfect warm up before the Scottish post-rock legends close out the night.

Closing out the Elephant In The Bar Room stage in style is COLOSSAL SQUID, the solo project of Three Trapped Tigers‘ percussion wizard Adam Betts. Taking the intricate, virtuosic beats of Betts’ main project and throwing them in a blender with a hearty pour of math-tinged EDM played on a traditional drum kit with drum triggers and synth pads, COLOSSAL SQUID challenge the idea that drums can’t be a lead instrument. While any mortal musician would be sweating just at the thought of creating such complex yet danceable music on the fly, Betts shrugs away the challenge with a cool composure and joyous grin proving to the captivated tent that dance music well and truly had its place at this festival.

Photo Credit:

Derek Bremner

Back over in the Yohkai, it’s a post-rock masterclass from Caspian. Now, given how it’s the band’s fourth appearance at ArcTanGent, those predicting the set would be forgiven. After all an airy performance of ‘Gone In Bloom and Bough’ is expected, another thunderous rendition of ‘Arcs Of Command’ anticipated. The North American post-rockers subvert such expectations with this set though. Forgoing some of their more metallic dramatics in favour of more more dreamy and contemplative work, the band’s opening manoeuvres of ‘Waking Season’, ‘Quovis’, ‘Further Up’ and ‘Further In’ immediately shatters such as predictions and see’s the band offering their most reflective and cathartic appearance set at ArcTanGent yet. However, it’s a performance of ‘Sycamore’ that truly highlights. Effortlessly atmospheric, the slow burn of the track is the crowing jewel of this headline set and stands as a moment that that embodies the tension, tenderness, release, joy and inequitable human spirit that has come to characterise this band; a surprise appearance of And So I Watch You From Afar come it’s climax only highlights this. It’s a brilliant, true headline set, one that just shows how this often under-sung act truly reign supreme over this genre alongside the pioneers headlining this festival.

If, after four days of droning post-rock, you feel like ArcTanGent headliners Mogwai are a little too slow then PX3 closers MSPAINT may be more your speed. Replacing a traditional hardcore bands guitars with fuzzed-out synths but keeping the driving rhythm section and vicious, confrontational energy, MSPAINT lead a four person crusade against all established norms, not just pushing boundaries but shattering them. Bringing the energy to a peak with the shout-along chorus and earworm synth line of ‘Hardwired’ before riding the wave with nonstop hip-hop/hardcore crossover presence of ‘Think It Through’, MSPAINT are wonderful alternative to tonight’s main stage closer. MSPAINT managed to stay weird enough for the Arctangent crowd while delivering an experience like nothing else at the festival worthy of clashing with one of the weekend’s biggest names.

In a way that’s reminiscent of Thursday’s headliners Explosions In The Sky, it’s only really fitting that Mogwai are closing the final day of this festival. After all, the band are essentially the embodiment of the ethos of ArcTanGent. They’re unapologetically mercurial, borderline contrarian, and put simply, do their own damn thing in their own damn way. It’s these traits that have long characterised what makes ArcTanGent, well, ArcTanGent. And whist it may have taken the planets aligning at the last minute to get them here – with it now being common knowledge they were not the original headliner for today – the Glaswegian icons enliven their legendary status with a sense of effortless ease that’s just stunning. This may be a dream get for the festival and highlight of the year for many here, but for Mogwai, this is just another set for them.

As the band lurch into ‘To the Bin My Friend, Tonight We Vacate Earth’ and ‘I’m Jim Morrison, I’m Dead’ with all the deafening volume that they have become infamous for, Mogwai feel primordial. Across textured leads, layering guitars and perpetually shifting interplay, the icons feel like harnessing something pure, unfettered and palpable. Granted, whilst many of the acts on this lineup have taken Mogwai’s blueprint and built upon it, this set just shows how effective no-nonsense post rock can be when channeled with the kind of skill and dexterity that can only come from effectively creating a genre. The crowd pleaser of ‘Hunted Like A Freak’ is ethereally immersive, the oddly upbeat nature of ‘How To Be A Werewolf’ life affirming, the compounding ‘Rano Pano’ hypothesising, ‘Ritchie Sacramento’ spiritually moving despite it’s relative simplicity’.

It’s the second part of the set where Mogwai’s effortless power becomes most palpable though. Whilst the band may be a far cry from the obtuse ferocity of some of the acts on this lineup, ‘Like Herod’ stands as the most intense song of this entire festival so far, its fake-out genuinely startling even though it’s expected. ‘Old Poisons’ and the synth driven ‘Remurdered’ are pleasant reprieves, but it’s ‘We’re No Here’ that truly harkens devastation, its harbinger riff impacting harder and harder, its delivery fuelled with a sense of purpose that mirrors that of an intentional bludgeoning. It’s powerful, unforgettable given its elemental power, and quite frankly, the best gift Mogwai could possibly bestow on ArcTanGent for its tenth birthday. As the punters drift into the night, ears either initially defended or now irreversibly fucked, it’s impossible to think of a more authentically uncompromising end for this festival. It’s a brilliant end for what is undeniably the best edition of this festival thus far, and whilst it may seem like this moment cannot be topped, there’s no doubt that ArcTanGent will continue to find talent to raise the bar time and time again in the future.