Storming the stage with their melodic yet ferocious brand of punk London quartet Tripsun delivered a politically vital message while avoiding the preachy pitfalls of other socially aware artists. Leading with the title track from their 2023 debut album Kill The Dream the four piece tore through half an hour’s worth of feverishly energetic punk with frontman Hass Ta-Fa’s throat-tearing, percussive screams and soaring lead guitar taking centre stage.
An undisputed highlight of the set was Kill The Dream opener ‘Sustenance’, transporting Tripsun’s usual lightning fast punk sound into a more deliberately paced, indie inspired context without losing any momentum before flying straight into the anthemic, sing-along emo of ‘Daily’. Whether they’re blasting through a rapid punk banger or bringing the energy down to address the ongoing occupation of Palestine, Tripsun approach every moment of their set with the same unbridled, earnest enthusiasm fueled by genuine political outrage.
Opening with what can only be described as the most haunted piano riff possible prior to delving into the kind of doom and sludge that evacuates a weekend’s worth of Bunnymans out of one’s lower end at max velocity, Torpor are certainly a choice for an early morning opener. That said, they’re stunning in every way possible. Once again proving you don’t need a huge array of elements to create the deepest sea of noise as they rip through tracks from last year’s ABSCISSION, only ever letting up between tracks adding some intricacy to the set. The sense of doom within the bowels is truly terrifyingly brilliant, and given the turnout, it’s exactly what most the early risers want and need to purge off the excess from last night. We say most, given the few who quickly shake their heads and run out the tent, presumably due to having their spines fall out their bums.
Immediately following next door in the Yokhai are Welsh post rockers FORT. A big moment for the band who have long expressed a desire to appear at the festival, the Cardiff quartet waste no time in plunging into their delicate, shimmering and personal take on the genre, and whilst many of their evident inspirations have appearances to are still to come this weekend, the bands blend of homegrown instrumental is as fertile as the grounds they call home. After years grinding in the post rock underground, FORT have well and truly earned their place on the bill today, and fully smash it. This sense of endearment ends over in the main stage with Briqueville though. Dressed in plague keepers outfits and sounding skin to the final thoughts of a God-fearing plague victim, the anonymous yob are anything but joyous and give Torporr a run for their money when it comes to grim joylessness.
Back in the Yohkai, “Shamanic doom” troupe Sunnata start to a sparse crowd, but one that gradually grows as more people are drawn in by their unique twist on doom. Psychedelic elements sit alongside chants and Alice In Chains-esque vocals, with layered vocals and chromatic guitar lines entwining. The expansive God Emperor of Dune glides in like Fremen across the desert, undulating through mind-bending soundscapes and wailing vocals. It’s a high point of their set, one where their psychedelic and progressive sides cohere most effectively. Half an hour passes by in what feels like half the time, the tent thoroughly swept up in the ritual in front of them.
When a band’s fifth performance pulls in a rammed crowd to one of the larger tents at a festival at 2pm, it must be for good reason. If you didn’t already catch on to Vower and who’s in the band, they consist of former members of Palm Reader, Black Peaks & Toska. For most in this tent, this will be their first time seeing this collection of supreme talent in the flesh as one unit. The expectancy and buzz in the crowd builds as Josh McKeown and co. turn that tingling energy into electricity, opening with ‘False Rituals’ from their debut EP apricity. As they plough through the remainder of the release alongside two new songs it is clear this band will continue to take that buzz and turn it into a full storm ahead. They are already tight AF and it is a joy to see Liam Kearley behind the kit again. His precise chops and artistry behind the kit is something to behold and when you have two insane guitarists in Rabea Massad and Joe Gosney it is hard to put a foot wrong. Easily one of the sets of the weekend and these chaps are just getting started.
Back over in the elephant is the rock band Thank from Leeds. Appearing just following their signing to tastemakers Big Scary Monsters, the only real way to describe Thank today is by stating that the Leeds noiseniks are post-punk’s answer to The Armed. It’s sardonic, obtuse, undefinable, weird and wholly, truly exciting. ‘Dead Dog’ and ‘Good Boy’ present the bands weirdness wonderfully but its new martial like ‘Writing Out A List Of All The Names Of God’ that truly presents this bands unparalleled approach to post punk. It’s surrealist, plays into the demands of this festival’s demographic, and judging from the reaction, there’s no way they’re coming back to ArcTanGent in the future without appearing on a bigger stage.
When an artist performs their first ever show, you would assume it would be a slightly unassuming ordeal. Not for i Häxa. Opening the main stage today and performing their debut set off the back of a string of EPs, including one literally released on show day, the neo-folk collective present what might be one of the most grandiose debut sets by any band ever. Making full use of the video wall at their disposal by presenting cinematic short films showing light on the pagan mythology that serves as the crux of their identity, i Häxa may be one of the most immersive sets of the entire weekend. It’s pretty much downright impossible not to drown and in the world and mythology that this unique and mystifying band inhabit and enliven both visually and musically. Beware Nordic Giants, i Häxa are after your title as one of the most cinematic and immersive bands in left field music.
Much like the previous dawn, ArcTanGent is given a rude loud awakening before lunch, this time by Kulk’s siblings in arms and fellow duo, Modern Technology. Drummer Owen Gildersleeve’s hard hitting volume is equally matched by Chris Clarke’s guttural bass tone. Much as their labelmates at Human Worth these two bleed passion through their music. Chris’ barked vocals around the evil in the world and need for change. This is not just a wake up call physically but politically. Using every ounce of energy it feels at moments if Owen’s bass drum pedal might finally rip through the shell. This is powerful performance, one that could aptly replace a double shot of coffee to the veins to start your day.
Back under in the PX3, another late addition to the ArcTanGent bill and just after joining us on the live iteration of the Noizze Podcast, Brightonians El Moono take to the PX3. After releasing their first full length LP, The Waking Sun, they have been steadily gaining a wider fanbase (as the crowded tent proves). To celebrate the day each member is dressed for the occasion, each with their own flavour and style. Guitarist/vocalist Zac adorned in a fantastic dress, but this is deceiving as their vocal delivery is a harsh contrast. Screaming for his life over a well oiled set covering ground from the LP and their previous EP Temple Corrupted, their blend of atmospherics and heavy breakdowns is a wondrous dichotomy and a great representation of what this festival honours.
At the same time over on main stage, with corpse paint and androgynous black clothing draped in chains and buckles, gothic synth duo Zetra certainly look and sound the part too. Routinely interrupting their set to worship the portal backdrop behind them, Zetra capture the dark appeal of iconic goth acts like Bauhaus and The Cure while injecting the genre with a touch of blackgaze inspired energy and the same commitment to their aesthetic that has made Sleep Token one of the biggest bands on the planet. This, complete with harmonised vocal and chunky distorted guitar riffs backed by punchy ‘80s style drum machines and shimmering synth soundscapes make for nothing but a mesmerising performance. Paradoxically Zetra may have been both one of the more unique acts at ArcTanGent this year and a solid bet for the next breakout band from the UK’s underground. A great set for those up early enough to ponder the portal.
Despite playing a slightly shorter set due to soundcheck woes, next-wave emo collective main stage openers itoldyouiwouldeatyou offer an emotional but fantastic start to the first proper day of ArcTanGent 2024. But of course, this is to expected given the band’s emotional dynamic approach to youthful existentialism in the key of the forthcoming societal collapse. The airing of new material showcases this perfectly, with new cuts seeing the band expanding their already far reaching sound into new areas removed from the emo bracket they first honed their sound in years ago. The crowd may be slightly static, which is understandable given the dreary weather and early 11am call time, but with their charisma and charm, itoldyouiwouldeatyou capture the hearts and minds of those down main stage bright and early today.
It’s a bit of a similar tale immediately following over the in the Yohkai, albeit with a lot more heft, and as it emerges, energy. With a lovely yet serrated skramz edge complementing their homegrown and intricate approach to post-hardcore, Pleiades takes form as an emotional rush of energy that feels alive and ruthless in thanks to the band’s inspired energetic take on a genre that often fees lifeless and limp. But whilst their peers prior may not have been fully successful in transplanting their energy into the crowd before them, it’s impossible not to be wowed by Pleiades and their brilliantly organic approach to this genre. The band simply sound fantastic, and given some reactions, it’s clear this is entailment enjoyed by all those gathered here, especially with the push and pull ‘Siberian’ awakening the crowd fully. A brilliant set that sets a high standard for the day ahead.
Whilst the post-hardcore sensations treat the Yohkai, another barrage of noise calls from the Bixler; barrelling onto stage before midday are Human Worth’s destructive duo in Kulk. That coffee not kicked in yet? No problem as Jade & Thom crank up the volume to earth shattering volume, presenting songs from their recent LP It Gets Worse. Their hard hitting tracks like ‘Beyond Gone’ vibrate breakfast burritos out of hungry palms. Thom manages to make a two piece seem like a much larger ensemble pacing the stage when not at the mic. This doom laden chaos isn’t the hot knife through butter, it is the fist smashing the breakfast bar into pieces.
Immediately following on the Bixler, from opening track ‘Smother’ alt-rock four piece unpeople make it clear that they’re ready to take the world by storm with the same instant star factor as bands like Biffy Clyro. Co-frontmen/guitarists Jake Crawford and Luke Caley, both formerly of Press To MECO, bring the same infectious, upbeat energy as their previous project to a band with a far fuller, more refined sound boosted by their undeniable chemistry and lush vocal harmonies. Despite some minor technical issues and a last minute substitution from bassist Em Lodge of Delaire The Liar, unpeople still manage to deliver one of ArcTanGent’s most fun sing-along sets performing their debut EP in full alongside one unreleased track that have the crowd just as hyped as their released material.
It’s difficult not to think about how both so much and so little has changed between last year’s ArcTanGent and this year’s edition. After all, when stepping onto Fernhill Farm again, it feels like only weeks have passed since Devin Townsend closed last year’s festival. But so much has changed. The global math, post and general left-field scene has changed. Bands have stepped into the scene as much as legends have left. And perhaps most of all, the cultural and communal significance of ArcTanGent can no longer be understated.
From humble beginnings in a muddy field to becoming a globally renowned event in an even bigger muddy field, ArcTanGent has become the go to destination for lovers and pursuers for all things experimental, progressive, forward thinking and just a bit overall weird. And now, with the festival celebrating its 10th anniversary as an event, it’s clear that the team have well and truly pulled out the stops for its biggest edition yet. Which is why Host Body are here to open the festival.
As those here early enough last year might remember, last year’s openers Ogives Big Band opened the festival with a bona fide ribbon cutting. How do the local mathcore noiseniks follow this? By offering nothing but pure aggression and intensity. Forgoing fun in favour for a ruthless barrage of industrial-speckled noisecore, the local legends offer a set of sharp, serrated and downright penetrating onslaught of no-nonsense extremity. They may offer a different approach to last year’s brilliant openers and local scene staples, but much akin to Ogives, this is music straight to the point and can cut through more than just ribbon. Plus the early birds nursing the first of many pints this weekend clearly love it.
The Sunday started upstairs in the seated theatre at an early 1pm start with London based emo troupe itoldyouiwouldeatyou. Except for a brief intro, all music came from their as untitled new album, although tracks such as “Leon” and “It’s a Wonderful Life” have already grown to be live favourites. The final song built to almost overwhelming crescendos, ending with the refrain of “nothing ever really ends/ it just goes round again”, the echo trails accented by the reverberant theatre space lingered long enough to never feel truly ending.
Next up is the UK big riff supergroup Jaguar Throne, with members from Bossk, Cognizance, Lakes and Gold Key. With only 3 songs out – that all hit harder live – the set is mostly unreleased material, which keeps up the anthemic headbanging. The intensity of the songs is only matched by the intensity of EartH Hall’s infamous strobe lighting.
