Friday:
On Friday’s early afternoon, Sans Froid arrive at the Elephant stage to dish out their mournful and sombre art rock.
Australia’s The Omnific follow on the main stage with a set of progressive rock played by two bass players and a drummer. This unusual lineup is perhaps surprisingly effective, with one bass taking the role of melodic lead throughout a set which takes influence from classic metal.
At the same time, over on the PX3 stage, Brittany’s Fange bring an uncompromisingly heavy set of industrial-tinged sludge metal. Driving and relentless, the music is augmented by the harsh guttural vocals and dynamic stage presence of frontman Matthias Jungbluth.
On the Bixler stage, Los Angeles’ Iress present their slow and monolithic doom-laden post-rock textures. Mournful shoegaze sections break up the huge riffs through this dynamic and arresting set.
Soon afterwards, Every Hell arrive on the PX3 stage to deliver their frantically fast textures and dark atmospheric riffs. Vocalist Will Gardner also plays sporadic saxophone through a tremolo unit to eerie effect.
A little later Glassing, from Austin, Texas take to the PX3 stage. Their set is ferocious and frightening at times, as they weave black metal-inspired segments with psychedelic and dreamlike post-rock.
Los Angeles’ Night Verses follow on the Yohkai stage to blast out a largely fast and furious set of syncopated instrumental art rock. Drummer Aric Improta does a phenomenal job of holding everything together as the sound morphs and shifts from frantic Math-Rrock to slower spacious sections. Nick DePirro’s sublime lead guitar melodies hold the audience transfixed throughout.
Norway’s Ihsahn is up next on the main stage. A ferocious set of progressive black metal ensues, with snarled vocals, riffy soundscapes, huge guitar solos, and terrifyingly powerful blast-beat sections.
A bit later, Blood Command bring their set to the PX3 stage. Arriving amidst a classical music intro, the band are decked out almost entirely in Adidas clothing. Vocalist Nikki Brumen screams and shouts over poppy Punk rock as circle pits and crowdsurfing get underway in the audience. This explosively joyful and upbeat set reaches its climax when Brumen herself crowdsurfs out into the audience; her energy levels and ability to engage the crowd are phenomenal.
Teeth of the Sea take to the Elephant stage soon afterwards. They hammer out their unique brand of bleepy electronica, augmented by live guitar, bass and trumpet. Mostly instrumental, the dynamic set morphs between ambient electro and heavier grooves.
Meshuggah close Friday’s proceedings on the main stage, and they give the audience exactly what they came for: chugging super-low syncopated riffs, punishing vocal growls, and odd Prog-rock time signatures. It is a crushingly heavy and ultra-tight set with additional atmospherics provided by psychedelic backdrop videos.
Saturday:
At lunchtime on Saturday, BRIQUEVILLE launch into their main stage set dressed in hooded robes and masks. Their cathartic and ritualistic set grinds through dark post-rock soundscapes and catchy doom metal riffs with occasional chanted or growled vocals.
On the Yohkai stage, Sunnata are next. Again dressed in all-black robes, they launch into a set of groove-laden progressive rock with hypnotic builds, slow riffs, eerie textures, and harmony vocals.
Soon afterwards, Finland’s Hexvessel take to the main stage. Yet again, in what seems like a theme for the day, they are clothed in robes. The band present a ritualistic and enchanting set of black metal-tinged doom folk. Mat “Kvohst” McNerney’s strong melodic vocals soar above the rich sonic textures.
Over on the Elephant stage, Leeds’ Thank are up next, bringing their punk-infused noise rock to ArcTanGent. Tense, angry, and mostly fast, their set is characterised by shouted vocals, dynamic crescendos, and feedback drenched wig-outs.
Barcelona’s Ànteros are on the PX3 stage next to deliver their brand of three-guitar post-hardcore. Chiming emotional hardcore sections trade place with massive riffs, vocal screams, and delay-drenched shoegaze.
Canada’s KEN Mode are next, over on the Bixler stage. Their set of relentlessly driving post-hardcore is augmented by saxophone squawks and electronics.
On the PX3 stage, Nadir’s performance begins soon afterwards. Their brand of black metal (with nods to death and doom metal) is uncompromisingly heavy, unrelentingly powerful, and deeply cathartic.
Shortly afterwards, Cork’s God Alone begin their Elephant stage set. Noisy and punk-infused, their set is fast and aggressive without really falling into the metal category. The band’s stage presence is electric, and this manic energy rubs off on the audience as the band crash through their set that features frantically shouted vocals, synth and guitar effect weirdness and some crushingly slow breakdowns.
Outlander are up next, on the PX3 stage. Slow, flowing and evocative, their set of post-rock soundscapes features chiming arpeggios over huge chordal textures (delivered with three guitars).
A little bit later, Electric Wizard are on the main stage. Lit in static red and blue, and with psychedelic and horror movie projections behind them, they blast out their trademark sludgy doom metal. Hypnotic and dirge-like, the band pump out wave upon wave of awesomely powerful riffs, augmented by Jus Oborn’s signature snarl.
France’s SLIFT take to the Bixler stage soon afterwards for a set full of heavy and frantic progressive psychedelia. Syncopated grooves gradually morph as the audience is carried away with the space rock textures. Distorted shouted vocals, classic guitar solos, and quieter brooding electronic sections all play their parts.
Headlining Saturday’s main stage are Mogwai. Their poignant set of instrumental post-rock is often uplifting, euphoric even, although it is not without its tender and sombre moments. Thunderously loud and often heavily distorted, the sound is nevertheless crystal clear as the band work through their array of dreamlike pieces. The audience is captivated and carried away by this glorious and triumphant end to ArcTanGent 2024.
As people drift back to their tents is is clear that ArcTanGent’s 10th anniversary edition has been a huge success. Its clever lineup curation has perhaps unique appeal to a certain niche of music fans. It is also a well-organised event: toilets are clean, food is high quality, and the stage areas are sheltered under tents. No doubt the majority of festival-goers will be hoping that ATG is able to continue for another 10 years. Amen to that.
Read Part 1 here:
FESTIVAL REVIEW: ArcTangent Festival 2024 Part 1 Live at Various Venues
WORDS BY DUNCAN EVANS
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