“I scorch the skies before your very eyes.”
For one long weekend of the year, your niche interest in weird rock and metal can become relevant. All the facts you hold in your head, unable to tell to your coworkers for fear of sounding musically crazy, become useful in real life at ArcTanGent. This knowledge is your guide to navigating a stacked line-up of unconventional artists and live circuit highlights that balance the weird and wonderful. Internet darling bands are no longer theoretical – they’re playing in the tents over there, for four whole days, and everyone at the site agrees, that’s amazing. That 10 year old shirt suddenly gains you cred (but, sorry, your “Public Castration is a Good Idea” shirt will never be cool).
This is our view on the ground from ArcTanGent 2024, taking place from Wednesday 14th to Saturday 17th August. Words by Dobbin T, Maximo David, Jack Crosby-Griggs, and Kieran White. Photography by Kieran White for Boolin Tunes and Jonathan Dadds, Joe Singh, Derek Bremner, and Carl Battams for ArcTanGent festival.
Wednesday
Curse These Metal Hands
GIVES YOU! BARONESS ENERGY. ArcTanGent’s own Curse These Metal Hands served as the perfect “welcome” band, distilling a warm and slightly silly energy that I’m certain helped to ease in any homesick newcomers sitting on the fence about the festival experience. The Conjurer x Pijn “supergroup” oozed confidence in an unserious yet charming way as they powered through tracks from their stellar (and still singular) EP. Even if you’re not in-on-the-joke, everything about them said they were an in-joke, and they’re a ruddy good one too. Jack Crosby-Griggs
LLNN
Co-writer Jack turned to me after LLNN finished saying it was “literally, the most frightening, terrifying, horrific, disgusting thing I’ve ever heard in my entire life”. I disagreed, only because I’d seen LLNN once before. Copious bass and guitar suffered through nasty effect chains, beats were unnatural and raw, and synths were embraced, only to be patched through the pits of astral hell. The only knock I have against the set was its mid-section, where most of the band popped backstage whilst Victor Kass dropped his guitar to sing over industrial rhythms. Surely a mainstay of an LLNN set and great for variety, but it didn’t land for me despite Kass’ animated performance. The next track was my favourite, “Imperial”, whose vocal melody I can’t get enough of. The following song had a hefty vocal feature from Kim Song Sternkopf singer of Møl and John Cxnnor. By now LLNN have surely made a name for themselves off the back of Unmaker and their live performances, so here’s hoping their next record sets them into stone as a premiere post metal act of the 2020s. Dobbin T
And So I Watch You From Afar
Objectively ArcTanGent royalty, Wednesday night’s set was And So I Watch You From Afar’s first of two (they played their new record Megafauna in full on Sunday). It was also historic as it was a fan-voted set, something I picked their brains about the following day. As it turns out, fans want bangers, so all twelve songs were already live staples. “Clench Fists, Grit Teeth… Go!” was a deep cut from the start of their discography, and there’s still an appetite for The Letters EP through “S Is For Salamander”. But it wasn’t just the early stuff that got requested, as every record was represented in the choices, even if Heirs and All Hail Bright Futures just had one entry each (“Wasps”, and – of course – “Big Things Do Remarkable”). A frenetic bouncy mosh formed which even the festival runner, James Scarlett, could be found within, begging not to be crowdsurfed. What I love most about And So I Watch You From Afar’s deep link to ArcTanGent is that I can point normal people to this band when they ask about my taste in festivals. It’s hard to argue with the immediate joy that radiates from their music. Dobbin T
Our travel times meant we missed their set, but did manage to catch up with Din of Celestial Birds for a cheeky interview.
Thursday
itoldyouiwouldeatyou
Starting gently on the first full festival day with an emo band, itoldyouiwouldeatyou garnered a lot of respect with their pre-pandemic complex yet heart throbbing music. They should be seen as a figurehead of the UK DIY emo scene. They’ve kicked back into activity this year with other shows, particularly to support awakebutstillinbed, Michael Cera Palin, and Your Arms Are My Cocoon. Only dampened a little by their late start, the stage was absolutely deserved. They played through their intricate emo epics with an excellent singer, whose voice manages to be crystalline and unapologetically British at the same time – a rare feat. Their early start meant a nice quiet audience to let the dynamics shine. They’ve been largely inactive since the pandemic, so it was great to hear some new material. Dobbin T
A-Sun Amissa
If ArcTanGent strives to include sounds from across the sonic spectrum, that has to include some really fringe sounds, and what’s more fringe than ambient drone? On the humble Elephant at the Bar stage, A-Sun Amissa played to a thronging tent – this is the sort of festival where an early slot in a small space is actually coveted. They turned the small tent into their temple, playing a bespoke track made just for the event, “Drone Oracle“. Smart sound isolation between tents very effective for this subtle piece (earplugs not required), featuring clarinet and looped choir parts from Claire Knox. The rest of the soundscape was two duetting guitars making threatening drone with carefully matched timbres. A-Sun Amissa are not messing about when it comes to live drone performance, with over ten years of hard work making them the best in the UK for the style. The turn out suggests that ArcTanGent should keep booking acts like this. Dobbin T
Kulk
Meanwhile, in the Bixler tent, earplugs were not optional – Kulk sound bigger than any two piece on the scene. If you’ve seen the film The Sound Of Metal, Kulk are the UK’s answer: noise rock with recklessly twisted vocals and bombastic drums. They take a ‘doom metal’ approach to their big riffs and the way they handle tension in their songwriting, but a punk mood to their vocals, drums, and overall attitude. Being so effect-driven might be a drawback for some listeners as the delivery of hooks can become mushed into the soundscape, but it scratches a different itch. There were lots of “naughty string” chords and impossibly deep bass that spilled out of Thom Longdin’s stack. It really felt like something in the effect chain was breaking from the strain of the sound. They saved the grooviest track for last, enhanced by stuttering electronics. The following week they demonstrated their range by supporting gazers Iress, then later the Japanese legends Melt Banana on several dates.
unpeople
For those still strolling in around noon unpeople were happy to provide a wakeup call in the form of attitude-packed alt rock, brimming with catchy hooks to sing along to and groovy licks irresistible to even the latest of risers. The up-and-coming all-stars blazed through the majority of their debut EP along with a few presumed glimpses at what the future holds (and what a bright future it seems to be). They were dazzling established fans and undoubtedly making new ones in the process, as their brief yet vibrant discography proved them an ideal ArcTanGent flavoured band. Alas, before you knew it, thirty minutes of marvelling at the sheer expertise demonstrated by all four members of the band as they balanced contagious energy with meticulous dedication to accurately portraying their catalogue down to the finest detail had flown by, and it was time to move on to the next offering of the day. I suppose we’ll have to wait until the counterculture quartet inevitably headline sometime down the road in order to get an extended look at their versatile virtuosity. Jack Crosby-Griggs
Underdark
Another band that has been grinding on the UK’s small stages, Underdark took their blackened post metal epics to the grand scale they deserved on the Yohkai stage. Singer Abi made a point of getting right up to the audience right from the first song, experimenting with the space available. The emotive and epic elements of their sound peaked with the soaring “Matrimony” from Managed Decline – it was simply awesome to hear a rendition with a fully realised ending (not that the fade out doesn’t work for its presentation on the LP). Outspokenly anti-fascist voices are important in the black metal (and wider extreme metal) scenes, so with Dawn Ray’d sadly split up just after last year’s ArcTanGent, Underdark can be regarded as a key band. Dobbin T
Julie Christmas
Julie Christmas’ work in Battle of Mice and with Cult of Luna has cultivated a not-so-cult status – in addition to a big main stage ArcTanGent debut, she held a signing session. She and her band (including Magnus Lindberg of Cult Of Luna) played material from her rightly praised solo record Ridiculous And Full Of Blood. The catchier tracks caught me the most as well as her unhinged stage persona and brilliant fibre optic dress. When I met her she stressed that this sort of tour wasn’t coming back around any time soon, but I’d love to hear a second solo record and a set that brings in that new material and keeps the hits from the first album in. Of all the sets of the weekend, this is the one I saw most kids at – with ear defenders, of course. Hopefully they didn’t see the band joyously passing round their bottle of whiskey. By extension, this means that Christmas‘ music speaks to something deep within all ArcTanGent mums and dads. Rock on. Dobbin T
Kaonashi
For one of their first times in the UK, Kaonashi effortlessly melted the minds of every single witness in the PX3 Stage with their eclectic and chaotic core experience. They pushed the newly-enamoured audience to the absolute limit whilst striving for milestones including the “biggest two-step of the festival” of which I’d have to presume they achieved without struggle, given the sheer size of the pit they accrued. With first-time listeners and Kaonashi Comrades equally present, the shellshock that lingered in the air from the very first note of their hectic, ungodly tense set was palpable. With ear-shattering sub-drops and truly silly chugging dispensed aplenty, an undisputed highlight of the set coming to a head through newly-cooked banger “We Got One” which swiftly infected those under the PX3’s roof with a serious case of hardcore-fever as the area became one big danger-zone under the band’s unpredictable presence. Bonus points for the Creed reference of course, as would be the case with any band. Jack Crosby-Griggs
Textures
With ATG being given the honour of hosting the band’s first UK show in over seven years, Textures earned a spot as one of our most anticipated of the festival in our pre-coverage. This was partly owed to the excitement of such a reunion taking place, but was perhaps in larger part due to the Dutch tech-metallers providing some of the most intricate and mind-melting material the genre has to offer. This was delivered in spades at their barnburner performance on the Bixler Stage, offering up one of the most electrifying performances of the weekend. The group’s signature polyrhythmic chaos was masterfully contrasted by the group’s penchant for primal grooving, taking the audience on an intentioned and purposeful journey across their storied discography – from their 2006 sophomore record Drawing Circles, all the way to their (former) swansong in 2016’s Phenotype. Maximo David
Explosions in the Sky
In threading the needle between objectivity and subjectivity, the last thing I want to be is fickle. As long as it’s not worse to be indulgent, let me be through in my response to Explosions in the Sky’s headline set, my first time seeing them in over eleven years. I’ve always admired their approach – a brief hello and goodbye was the only chatter, no encore, and a set-list covering old and new. I’ve enjoyed The End’s material, particularly what they ended up playing live. And I was in tears during the songs from The Earth Is Not a Cold Dead Place; feeling the weight of the very songs that launched my passion for the genre was just too much. So it felt “fickle” to find that the majority of the set did not resonate with me at all. Without the emotional connection to the material (including the oldest song, “Magic Hours” from How Strange, Innocence) I couldn’t find the spark, no matter how pretty and patient their performance was. I don’t think it was “bad” – two nights later Mogwai impressed me, a band for whom I also have respect, but perhaps critically, I don’t have quite as deep an emotional connection with them. The psychology hearing whichever late era track, nodding along, but also knowing they could be playing “Moon Is Down” or another absolute favourite clearly won out. There’s a person out there who would be fully satisfied with what they performed, but if I’m being honest, that just wasn’t me. Bands should not cater completely to such instincts – sure, “play your bangers”, but it’s quite alright if I wasn’t weeping the whole way through, and I’ll absolutely be seeing them again if they aren’t really calling this tour The End. Dobbin T
Friday
HAAL
Thanks to a tip-off, I ended up at HAAL’s stage otherwise unaware of them, so this was a fully blind listen. They do extremely cool dark rock with impressions of classic Slint and Bark Psychosis. There was lots of space in the music, and understated vocals and melodic bass lines took a subtle centre, with engrossing electronics decorated the soundscape. Slow and heavy parts were just momentary, clarifying they were not just playing slowly, but that they were building suspense. Their third track was a real highlight, with many intricacies in the way that its heavy part developed, oozing with “post punk swagger” throughout. A projection screen was their additional member, somewhat awkwardly placed on the PX3 stage, with live-gitched video by Sam Chilton. It was refreshing to see visuals in the present day which were live, generative, and importantly, not AI driven (hurrah!). HAAL were well picked for ArcTanGent and are truly shooting for something different, so if you’re in the UK, look out for them at a small venue near you. Dobbin T
El Moono
The next set we caught was El Moono, subbing in for a band that dropped at short notice. Still, they packed out the PX3 stage, which felt like a stage destined for the group. Their early, broad-daylight performance emphasised the upbeat essence of tracks like “The Charm”, whilst in contrast, they happened to prompt the first mosh of the day, as limbs began to fly and people began to push to their sludge-infused stank-face-inducing riffs. This was clearly a bit of a “mates” performance, with El Moono now being quite well known in the UK scene, but that doesn’t devalue just how great this performance was. I tip my hat to the effect solo that came at the end of an impromptu “happy birthday” chant for vocalist/guitarist Zac; truly ArcTanGent-ifying an English language classic. Maximo David
Iress
Iress’ first overseas tour likely peaked with this set, packing out the Bixler stage. They came onto my radar with their Church Road release Sleep Now, In Reverse, but they have had a keen UK following since their debut. As such, their set list touched on moments across their discography, including “Wolves” and “Nest” from the reasonably distant past. My mix on the barrier was supremely bassy, which was tweaked after a few songs, leaving a crystalline sound and clarity for Michelle Malley’s fantastic vocals (my pick for ‘singer of the day’). Check out the band’s perspective mid-tour in our interview. Dobbin T
Glassing
My next band were also first-time visiting from the South East of the USA. Glassing bring in ideas from post metal and screamo implemented through their power-trio format. There’s a sense that they succeeded at everything they were doing: quick beaters like “As My Heart Rots” and “Defacer” were brutal, and slow post metal epics “Ritualist” and “Twin Dream” were inventive and engrossing. The set closer “The Kestrel Goes / Wake” channelled brightness and hope – this emotional range was one of the things we discussed in an interview, conducted at the New Cross Inn show a few days later. This EU/UK would become a tough tour for the band as they had gear and passports stolen just before heading back, so here’s hoping they enjoyed it as much as I did, and that they’ll be back soon. Dobbin T
Ihsahn
Coming off the back of immense critical acclaim for their 2024 self titled LP, Ihsahn brought his progressive approach to black metal to a packed main stage of ArcTanGent. Ihsahn filled the tent with luscious orchestral arrangements from intro track “Cervus Venator“, before blasting straight into the first three tracks of the Ihsahn LP in a row. At first it gave me the impression that the setlist was going to be this LP in full, which I actually would’ve welcomed, but I was soon corrected as “My Heart Is of The North“ from Arktis began to play. Ihsahn kept this setlist to his most recent tunes with a song from Arktis and Amr each, the Amr track in question being phenomenal track “Lend Me the Eyes of Millenia“ which was fully captivating with its cacophony of synths and tremolo picked guitars. The set closed with my favourite track from the recent album “A Taste of the Ambrosia“, which I was very pleased to see personally. I think the other fans were hoping for a more aggressive track to close out the set with, but I find that “A Taste of the Ambrosia” is a perfect embodiment of Ihsahn’s solo material as a whole. If I was to come up with a downside to this set, it would be that there were no tracks played pre-Arktis, which is a shame as tracks like “A Grave Inversed“ would be the perfect track to play at a music festival so diverse. Overall I found Ihsahn to be an enthralling show, and a blast to photograph too. Kieran White
Frail Body
ArcTanGent quietly holds a stake in the screamo scene, and for good reason – these bands are often too heart-throbby for hardcore line-ups, and too chaotic for ‘post’-inclined shows. Glassing, Ànteros, Cassus were some example screamo bands this year, and next year we already have Boneflower, As Living Arrows, and Chalk Hands to look forward to. King among these were perhaps Frail Body, another US band celebrating the release of a savage new LP. These new tracks were blitzed through with unapologetic fury, faster than studio versions and ever more desperate. The whole band is particularly talented, but the drummer really took it to the next level, adjusting tempos in a way that felt both practised and reactive. The song “Devotion” dedicated to anyone who had lost someone who defined their own world – a strong theme across Frail Body’s records to date. Although the three piece format is hard to argue with, I would have welcomed a second guitarist to underline the few moments where they sounded a bit thin. Furthermore, the PX3 tent’s boomy character sapped a bit of tightness. A lot of folks who saw performances here agreed, so perhaps the sonics of this tent should be revisited for next year (or, as tempting as the airy sides might be, get yourself to the front). Dobbin T
Sigh
Immediately after Ihsahn’s progressive blend of black metal, we were treated to Japan’s very own Sigh who have been producing avant-garde and experimental black metal for 35 years. Almost instantly we were treated to Sigh‘s stage theatrics they’re known for, with the samurai armour-laden guitarist unsheathing a flaming katana pointed towards the crowd. Other stage theatrics included exploding blood bombs, flaming magic tomes, a goblet of blood that Dr. Mikannibal poured all over herself, and frontman Mirai Kawashima and Dr. Mikannibal’s very own children covered in corpse paint looking ominously into the crowd and contributing the occasional harmony together. It was quite possibly the most fun and best stage production of the whole festival for me, it was hard to not crack a smile at the children headbanging with the other band members and throwing up the horns at every opportunity. Alongside the stage theatrics, Sigh played songs spanning their 35 year career with songs primarily coming from their 2022 masterpiece Shiki, as well as 2001 album Imaginary Sonicscape. Blistering tracks like “Satsui- Geshi no Ato” and “Bring Back the Dead” garnered huge fan participation with mosh pits and chanting galore. This set at ArcTanGent was one of the shows on Sigh‘s first UK tour in over 25 years, with the incredible reception they received I can imagine it won’t be too long till we’ll see them again on our shores. Kieran White
Meshuggah
One of the most legendary and influential within the modern metal space, Sweden’s Meshuggah melted faces and minds in equal measure, with their signature blend of primal grooves and defining tech-metal sound. This career-spanning set (unfortunately minus Chaosphere) demonstrated in no uncertain terms just how forward-thinking these djent progenitors were, even as far back as 1994’s None. This is truly timeless material, and that notion was only solidified by one of the tightest and most engrossing live performances I have seen to date. Early-career bangers such as “Future Breed Machine” and “Humiliative” provided a taste of the band’s thrashier years, whilst deeper cuts “In Death” and “Perpetual Black Second” provided groove-laden gratification for the more seasoned fans in the audience. Of course, the band came with their biggest hits in “Bleed”, “Demiurge” and “Rational Gaze” in tow, which landed with such precision that even the most overtly anti-djent campaigners couldn’t argue with the quality of their performance and craft. Phenomenal. Maximo David
Saturday
Torpor
Unbeknownst to the busy crowd up early to see Torpor on the PX3 stage, this would likely be their last chance – they’re calling it a day after their upcoming autumn tour finishes. Having also played Roadburn and released a stellar final record in the form of Abscission, I’m confident that Torpor are going out on a high note. I do not mean that literally – they were the sludgiest act at this year’s ArcTanGent. Many a Meshuggah-induced hangover was massaged away with swaying headbangs to Torpor’s grimace worthy heaviness. Their drummer Simon Mason dropped the sticks to drive electronics for several segments, be they drone battles with harsh vocals from their guitarist Jon Taylor, or gentle spoken word dirges from bassist Lauren Mason. So long as these musicians are all comfortable staying on the road, I hope to see them pop up in some future bands in the UK’s underground heavy scene. And if they really do want to call it a day, you can count me genuinely interested in any pedal-worship solo records they might cook up by themselves. Dobbin T
Codex Serafini
Codex Serafini are a Brighton weirdo-doom band that play psych epics that feel so loose they’re almost in jam-band territory. Donning crimson cloaks and an aura of mystique, their rhythm section is tight, but they let the guitar, sax, and especially vocals run wild and inspire an enthralling atmosphere. At a typical Codex Serafini show, the bass does the legwork that guitar would normally do, which only makes them more unique. This was a rare chance to see them with their guitarist, who fully filled out the mid range with classic doom tones (a warm up for Electric Wizard later on in the day). Comparing a band which is so “atmosphere” oriented to more “direct” bands on adjacent stages is always tricky (Bell Witch were the biggest example of this at ArcTanGent 2023), and they’re objectively more suited to a smoke-filled basement venue. Still, as the flag-bearers for The Mars Volta-esque weirdness, they were an important part of Saturday morning’s proceedings.
VOWER
Formed from the ashes of some of the most venerated acts in the UK underground (Black Peaks, Palm Reader and Toska), potentially ArcTanGent’s most freshly-formed band, VOWER, took to the Yohkai stage as part of their ongoing (and incredibly effective) effort to establish themselves in the UK scene. Consequently, the stakes were fairly high for these post-hardcore upstarts, as the ATG audience seems like the most innately primed demographic for such a supergroup – and they didn’t disappoint. Playing material from their stellar debut EP, apricity, and beyond, VOWER’s presence on the Yohkai stage was undeniable. With high-octane riffs, expectedly brilliant and unique vocal delivery, and some killer percussion, the UK quintet almost certainly landed firmly in the hearts of the many eager fans who swarmed the tent on day four. Maximo David
Imperial Triumphant
We have to ration the use of the term “marmite” here, not least to avoid confusing our international audience, but also because it could be applied to almost every band in this list. For Imperial Triumphant we can’t avoid it – the band marries ridiculous technicality to flagrant dissonance, wrapped in the glory and squalor of early 20th century New York. Their drummer Kenny Grohowski, descending from the school of John Zorn, held time like an atomic clock. Zachary Ezrin’s extremely precise dissonant chords were sent through the shredder by excessive whammy bar usage. The most rampant member was Steve Blanco on bass, administering the traditional ‘Cosmopolis’ champagne ritual and unhinged bass solo. The cacophonous Yohkai stage mix mired some of their precision and amplified the aimless noise. Strange as ever, Imperial Triumphant will have repelled all but the most ardent “just fuck my shit up”-heads, something ArtTanGent has no shortage of. Dobbin T
Outlander
A rising star of the UK post/gaze scene, Outlander were dealt a tough hand with their slot, which clashed with festival favourites And So I Watch You From Afar towards the end of the festival, meaning their PX3 stage was not heaving. On the other hand, they were one band whose sound profile was a good match to the cavernous mix that the tent was providing. With their trademark patience and delicate approach they played through a set of tracks from Acts of Harm, something they’d been prepping for a full tour. This included “Lye Waste” which lived up to the hype it’s garnering as an emotional gut punch at the darkest moment of their new record. Incorporating Aaron Buckell for additional guitars and keys expands their sound even further. Check out our massive interview with them here. Dobbin T
Electric Wizard
Electric Wizard were not on my bucket list, but they are an undeniably important band for the stoner-doom scene, so why not give them a shot? Although I now wish it had, their cult status clearly hasn’t gone to their heads: they behaved as if they were still playing a dive bar, with goofy intros about sucking blood, and tuning up without muting. In short, this band was my biggest disappointment, being far more ‘normal’ and less hostile than their studio material had hinted at (ArcTanGent is not the place to be middle-of-the-road). There were some aspects to appreciate. Doom really works for me when the vocals embrace the high register (think Warning, Pallbearer and Windhand) and Electric Wizard delivered in that department. Not a single one of their riffs would surprise you, but they do offer the gold standard when it comes to slow, ‘noddable’ material. The visuals were distinctive, matching the worn out 70s gear they were using, as they had raided the archives for clips of biker gangs and 1960s twerking. Dobbin T
SLIFT
On the hunt for something that would inject a little energy into my final stretch of the festival, I took a recommendation to check out SLIFT. They came across as a very energetic post hardcore band, delving into synths and colourful effects to turn the performance into a real trip. It was exactly what I needed, tremendously infectious. They boasted shout-duets from the guitar and bassist, wild solos, kinetic high-register riffing, and jam-band energy to the instrumental segments. Usually such a ‘loose’ feeling would dent my perception of a band, but not at all in this case, as they had a distinct sense of purpose to their extended noodly bridges. The audience response to all this was great, including a very happy mosh at the front for those who still had the legs for it. Their stage video was an assault on the eyes, mixing two contrasting colours at a time (“SLIFT orange”, coming to a paint sample range near you). The way these visuals reacted to the band was enthralling. Perhaps their final number took the biscuit as it was extremely, extremely extended, with keyboard solos, guitar interludes, and false endings galore. Dobbin T
Mogwai
If you’ve been following ArcTanGent festival closely through its Two Promoters, One Pod podcast (a collaboration with Damnation festival), you’ll know that the saga of booking Mogwai has been an ongoing battle for booker James Scarlett. Tenth time’s the charm. The hype was well deserved, finishing the festival with a stunning set. Mogwai’s discography is massive and consistent, so walking in with a hope that they’d actually play your favourites is a losing game (one that I lost when seeing Explosions in the Sky). Getting “Rano Pano” and “How to Be a Werewolf” from my favourite Mogwai record took me all the way back to 2011, giddy with delight and wonder. The more recent “Every Country’s Sun” is a live staple for good reason, the moment when they blow all the dust out of their amps. No doubt “Like Herod”, from the essential “post rock starter pack” album Young Team, was the highlight for many.
Conclusions and a look toward 2025
We had an overwhelmingly positive experience at ArcTanGent 2024, so now all there is to do is look forward to 2025. At time of writing, the poster below is the first teaser of a line up, revealing the Friday headliner Karnivool. A defining 00s band across alternative, nu and prog metal, this is a band sure to pull in first time visitors and ArcTanGent regulars. Speaking of regulars, there are some mainstay acts that you might be less suprised but still delighted to see, such as Rolo Tomassi, Dvne, and Sugar Horse. Fall of Troy, We Lost The Sea, and Between the Buried and Me are all playing classics in full and the latter two are even doing multiple sets. Melvins, Kylesa, and Kayo Dot, are also key bands who you can’t excape in online discussions of wierdo metal. There are many more names, but I’ll end with Adebisi Shank – whilst chatting to And So I Watch You From Afar, I almost asked them “whatever happened to Adebisi Shank?”, as they must have crossed paths in the early 10s math rock scene. It’s an absolute victory for the festival (and the genre) to have Adebisi Shank re-uniting and playing. And that’s not even the complete line up. See you there next year!
