ArcTangent Festival Review By Ben Baljak & Maria Owen
Ben - I awake unreasonably early, and my body wouldn’t allow me back to sleep. This had nothing to do with the event as the campsite is unusually quiet, bar some distant sheep ( pun intended). Being in close proximity to a hot shower could be a godsend. As the wise Towelie once said “Don’t forget to bring a towel”… I had forgotten to bring a towel. On with the stove! A can of Bromwell’s Chilli con carne in a wrap was about as sludgy as PIGS, PIGS, PIGS, PIGS, PIGS, PIGS, PIGS. But today was about MUD, MUD, MUD, MUD, MUD, MUD, MUD (please read in the voice of Garth Marenghi). I guess I’ll take a walk in the drizzle while the majority of the festival sleep. It really is a beautiful location.
Side note* A vendor is blasting Pantera. Personally I’ve always loved their riffs. But in contrast to what is coming from the stages here, the Cowboys From Hell are starting to sound like mild elevator music.
Maria - Spurv (8) An unexpected review. I was instantly drawn to the soundcheck then came back after accidentally passing. Stunning post rock with use of keyboard. Sounds very pretty, beautiful, emotive and heavy. They remind me of Red Sparrows. The use of stings in the backing track in no way chokes the live feel by the overall band. The use of trombone is a bit different and adds a war like drama at intervals. The use of orchestral sounds builds quite a different effect to that of typical post rock. Sparkling glockenspiels, violins taking the lead in breaks. An epic, cinematic panoramic sound. Three guitars adds to the massive epic builds and then we lose the trombone for an impressive four guitars on stage. The delicate beginnings of the next song is reminiscent of Explosions In The Sky.
Day 3: Friday 18.08.23
Ben - I awake unreasonably early, and my body wouldn’t allow me back to sleep. This had nothing to do with the event as the campsite is unusually quiet, bar some distant sheep ( pun intended). Being in close proximity to a hot shower could be a godsend. As the wise Towelie once said “Don’t forget to bring a towel”… I had forgotten to bring a towel. On with the stove! A can of Bromwell’s Chilli con carne in a wrap was about as sludgy as PIGS, PIGS, PIGS, PIGS, PIGS, PIGS, PIGS. But today was about MUD, MUD, MUD, MUD, MUD, MUD, MUD (please read in the voice of Garth Marenghi). I guess I’ll take a walk in the drizzle while the majority of the festival sleep. It really is a beautiful location.
Side note* A vendor is blasting Pantera. Personally I’ve always loved their riffs. But in contrast to what is coming from the stages here, the Cowboys From Hell are starting to sound like mild elevator music.
Maria - Spurv (8) An unexpected review. I was instantly drawn to the soundcheck then came back after accidentally passing. Stunning post rock with use of keyboard. Sounds very pretty, beautiful, emotive and heavy. They remind me of Red Sparrows. The use of stings in the backing track in no way chokes the live feel by the overall band. The use of trombone is a bit different and adds a war like drama at intervals. The use of orchestral sounds builds quite a different effect to that of typical post rock. Sparkling glockenspiels, violins taking the lead in breaks. An epic, cinematic panoramic sound. Three guitars adds to the massive epic builds and then we lose the trombone for an impressive four guitars on stage. The delicate beginnings of the next song is reminiscent of Explosions In The Sky.
Euphoric, comforting lullaby-esque gently and sensitively builds. Despite five guitars on stage (including bass) it does not crowd the music. It has wide open sensual breathing space. Slide guitars now add somatic effect. Tremolo picked harmonies between two guitars is impressive with delay set perfectly which is not easy to achieve. Drums are war like in the background building slowly to an emotive crescendo. Although very close in sound and effect to Explosions In The Sky they have a sound that sets them apart through use of synths, raw orchestral sounds, samples and of course the trombone guy. A soundscape more akin to Red Sparrows on the next song. Desolate and apocalyptic with drama added once more by the trombone. An immersive performance breaks into headbanging, an almost heavy interval but doesn’t quite break from the gentle bubble they’ve created.
They’re new album is out on the 22nd of September. The last song of what feels like too short a set as it was so enjoyable is approached with perfect attack, into beautiful mode changes beneath driving drums. Stunning use of different sounds , layered in a non competitive way that compliments the sounds wholly. I’d have liked to see these later in the evening. The song picks up to a heavy as fuck build that starts the audience appreciatively clapping along. Amazing band! Shifting beautifully through Arabic style into a traditional 1,2,1,2 marching , head nod provoking crescendo ! Got my knees bending and body swaying in time. I Felt very touched as they lined up for a bow and the audience raised their hands to clap in the air. Perfect.
Ben - ’68 (6) Are an American noise rock band from Atlanta that features two guys with the energy of ten. During the first song the singer/guitarist breaks a string, while this is being sorted we’re treated to a drum solo to the horn backing track. An unfortunate start but managed professionally. With a stage dominating punk attitude ’68 are met with more sound issues but manage to get around it humorously and laugh it off. There’s a lot of style and substance. I've read that ’68 don’t use backing tracks and manage their full band sound by directing the guitar into various pedals left and right with one set to an octave below. This is all very clever but it does become a little suspect as the riffs continue playing as Josh Scogin throws his guitar into the air. Although the word thanks written on the back of it as it soars through the air is a nice touch for the audience. It’s at this point that Maria has some words of her own to add.
Ben - ’68 (6) Are an American noise rock band from Atlanta that features two guys with the energy of ten. During the first song the singer/guitarist breaks a string, while this is being sorted we’re treated to a drum solo to the horn backing track. An unfortunate start but managed professionally. With a stage dominating punk attitude ’68 are met with more sound issues but manage to get around it humorously and laugh it off. There’s a lot of style and substance. I've read that ’68 don’t use backing tracks and manage their full band sound by directing the guitar into various pedals left and right with one set to an octave below. This is all very clever but it does become a little suspect as the riffs continue playing as Josh Scogin throws his guitar into the air. Although the word thanks written on the back of it as it soars through the air is a nice touch for the audience. It’s at this point that Maria has some words of her own to add.
Maria - The drummer was amazing , colourful and in my opinion carried the whole set. The music is great! High energy fuelled although the front man is clearly miming to a well constructed backing track. Considering other bands have managed to pull off stage performance and play and sing at a more intricate level I’m not overly impressed. I don’t think this band have an excuse. Yes, the visual performance is incredible with high energy. The sound is reminiscent of Shellac and Slint. However, I personally can’t forgive putting dancing before playing your instrument. Although I love the songs and performance, I don’t think backing tracks should do all the work while the singer performs acrobatics throwing his guitar in the air. As a two piece it’s fair to use a backing track to fill the sound. But I cringe watching the guitarist make no effort to at least appear to play his instrument. As a musician myself who sings and plays I find this insulting and misleading to non musicians in the audience. It’s sad because the music is great.
Ben - Mother Vulture (10) Playing at their home turf (or close enough) Bristol, Uk’s “Feral blues-punk outfit” start with a medley of Beethoven’s moonlight sonata into 2001’s Still Dre knocking everyone off guard as they swing into their upbeat noise. Impressive vocal range, an all white suit aesthetic and throwing themselves around the stage and off the amps like hyperactive teenagers on a sugar binge. I sit back and decide to learn what it is to perform whilst Maria takes control of the pen.
Maria - Energy of a bunch of coked up angry piranhas! The vocals are kind of glam rock which is refreshingly different in a festival like this. They sound like a good version of Motley Crue. The range on the singer’s voice is incredible, hitting very high notes. Climbing on the amps and jumping off like rock stars sadly don’t seem to do anymore. Visually the best performance so far. They look amazing which accentuates movement.
Ben - You can tell the band are having so much fun on stage . It makes you want to dance … I don’t dance… but I’m going to dance. It’s great that they’re aware enough to make a joke and apologise to the audience for only playing in 4/4.
Maria - All vocals and harmonies are on point. Vox hit unusual heights that are so impressive. Real rock and roll ! I couldn’t help but dance . Looking at the audience, everyone had a smile. Invigorating , moving as they play like it’s the last gig before they die. Wow, wow, wow! Although not my regular cup of tea they impressed me immensely .
Ben - It’s not even 4pm and my body is failing me. Time for a bourbon. The chill out space of the backstage bar looks absolutely fantastic. Sitting on a bail of hay, whisky in hand. ArcTanGent really knows how to perk you back up.
Maria speaks with Matt (Bass) from Svalbard - Svalbard have been touring with Russian Circles and Cult of Luna and have a new album coming out on October 27th which you can pre order on Nuclear Blast and Bandcamp. They have an upcoming headline Euro tour including UK gigs in Leeds and London with lots lined up for the future. The band brings an eclectic mix of different influences from each member. Their new single How To Swim Down has just been released so check it out. As this was an accidental chat rather than an interview, Matt states his respect for Serena Cherry when it comes to what the songs are about , as the lyrics are her experience and her art. A lovely humble and friendly guy and a nice surprise encounter whilst chilling with drinks. Matt states ArcTanGent as his favourite UK festival and the mighty Hellfest as favourite EU. We can not at this point disagree.
Ben - HAAL (6) considering the large amount of electronic rigs and synthesisers I was hoping for something a little “IGORRR light” although that would be a lot to ask for. Sadly I struggled to get into their vibe, mainly due to the fact that the artists themselves looked bored. Spoken vocals came across with the conviction of a sloth with a concussion ( which sometimes works). Some clever offbeat groove and diminished stabs attract my attention briefly but the set seemed to finish before it had a chance to really start.
Big up to food vendor Bangin’ Burritos. Your Burritos are indeed Bangin’!
Maria - Swans (10) Stunning lighting sets the stage. A buzz is in the air with crowd anticipation. A mature looking band start with a warm up drone , viking-esque whilst stinking distortion builds. Michael Gira’s voice is used like an instrument with more ethereal build up. A dirty Ebow is used and harmony takes over. They know exactly what they’re doing. Teasing and teasing with more builds layer by layer of guitar without drums . Texture and tone drive forward the long intro. This is foreplay. Cymbals come in building…. Sexual discordant undertones that float in and resolve beautifully. Art accents cut through the overdriven guitars - shaping and sculpting the most exciting build up I’ve ever heard live.
Ben - Mother Vulture (10) Playing at their home turf (or close enough) Bristol, Uk’s “Feral blues-punk outfit” start with a medley of Beethoven’s moonlight sonata into 2001’s Still Dre knocking everyone off guard as they swing into their upbeat noise. Impressive vocal range, an all white suit aesthetic and throwing themselves around the stage and off the amps like hyperactive teenagers on a sugar binge. I sit back and decide to learn what it is to perform whilst Maria takes control of the pen.
Maria - Energy of a bunch of coked up angry piranhas! The vocals are kind of glam rock which is refreshingly different in a festival like this. They sound like a good version of Motley Crue. The range on the singer’s voice is incredible, hitting very high notes. Climbing on the amps and jumping off like rock stars sadly don’t seem to do anymore. Visually the best performance so far. They look amazing which accentuates movement.
Ben - You can tell the band are having so much fun on stage . It makes you want to dance … I don’t dance… but I’m going to dance. It’s great that they’re aware enough to make a joke and apologise to the audience for only playing in 4/4.
Maria - All vocals and harmonies are on point. Vox hit unusual heights that are so impressive. Real rock and roll ! I couldn’t help but dance . Looking at the audience, everyone had a smile. Invigorating , moving as they play like it’s the last gig before they die. Wow, wow, wow! Although not my regular cup of tea they impressed me immensely .
Ben - It’s not even 4pm and my body is failing me. Time for a bourbon. The chill out space of the backstage bar looks absolutely fantastic. Sitting on a bail of hay, whisky in hand. ArcTanGent really knows how to perk you back up.
Maria speaks with Matt (Bass) from Svalbard - Svalbard have been touring with Russian Circles and Cult of Luna and have a new album coming out on October 27th which you can pre order on Nuclear Blast and Bandcamp. They have an upcoming headline Euro tour including UK gigs in Leeds and London with lots lined up for the future. The band brings an eclectic mix of different influences from each member. Their new single How To Swim Down has just been released so check it out. As this was an accidental chat rather than an interview, Matt states his respect for Serena Cherry when it comes to what the songs are about , as the lyrics are her experience and her art. A lovely humble and friendly guy and a nice surprise encounter whilst chilling with drinks. Matt states ArcTanGent as his favourite UK festival and the mighty Hellfest as favourite EU. We can not at this point disagree.
Ben - HAAL (6) considering the large amount of electronic rigs and synthesisers I was hoping for something a little “IGORRR light” although that would be a lot to ask for. Sadly I struggled to get into their vibe, mainly due to the fact that the artists themselves looked bored. Spoken vocals came across with the conviction of a sloth with a concussion ( which sometimes works). Some clever offbeat groove and diminished stabs attract my attention briefly but the set seemed to finish before it had a chance to really start.
Big up to food vendor Bangin’ Burritos. Your Burritos are indeed Bangin’!
Maria - Swans (10) Stunning lighting sets the stage. A buzz is in the air with crowd anticipation. A mature looking band start with a warm up drone , viking-esque whilst stinking distortion builds. Michael Gira’s voice is used like an instrument with more ethereal build up. A dirty Ebow is used and harmony takes over. They know exactly what they’re doing. Teasing and teasing with more builds layer by layer of guitar without drums . Texture and tone drive forward the long intro. This is foreplay. Cymbals come in building…. Sexual discordant undertones that float in and resolve beautifully. Art accents cut through the overdriven guitars - shaping and sculpting the most exciting build up I’ve ever heard live.
This is a band that is comfortable with what they do. Masters in charge. Switching from keys onto bass, now two basses, indulgent because they can. The front man conducts the band as if they are an orchestra. The setup sound is very reminiscent of The Velvet Underground. Lou Reed-esque vocals with minimalist space created for elevation of sed vocals. Impactful when it all kicks in and then dissolves back creating so much space it becomes hypnotic. No typical song structure , it’s almost a stream of consciousness.
Ben - Someone went into the desert and did DMT with a shaman.Involuntarily closes eyes and sways like a hippy in the wind. Convinced this is part of a hypnosis cult initiation and I’m ready to drink all the Kool-aid.
Maria - ART! This band demonstrate music as an art form. Static lighting aids the stillness and an almost spiritual lulling which is then destroyed by filth as it all kicks in for a couple of bars before returning to intense suspension. A transcendent experience for even those of us who are not on mood enhancing substances. Avant-guard as fuck. Brutal! True craftsmanship as if the set were narrated by an ancient story teller. Genius! It doesn’t seem to have backing tracks or clicks. It goes where it wants.
Maria - ART! This band demonstrate music as an art form. Static lighting aids the stillness and an almost spiritual lulling which is then destroyed by filth as it all kicks in for a couple of bars before returning to intense suspension. A transcendent experience for even those of us who are not on mood enhancing substances. Avant-guard as fuck. Brutal! True craftsmanship as if the set were narrated by an ancient story teller. Genius! It doesn’t seem to have backing tracks or clicks. It goes where it wants.
Like a musical with vocals of a satanic sermon and a hint of Nick Cave. A story book where visual illustrations are replaced by music. This is the closest I’ve ever had to a religious experience. Subtle uses of every instrument inducing indoctrination to a great new find. Then whistling becomes the main instrument because …. Why the hell not. Another highlight for me, causing a sacrifice of beer money to purchase their newest vinyl signed by the orchestrator of this new experience. Nice guy… wears a white cowboy hat…
Ben - Death Goals (7) Arriving ten minutes late due to chatting with a charming Irishman, we’re met by a crazed front man in a granny dress orchestrating a circle pit. They say that they are a hardcore band that love people. My eardrums may say otherwise but as a two piece undoubtedly sound loud and impressive . It’s not regular to hear a modern rendition of the old hard punk that influenced the likes of Slayer. I’m not a huge fan. However, the contrast of aggression in a floral frock is an admirable thing.
Ben - Heilung (9) Experimental folk band from Denmark, Norway and Germany. Heilung describe their music as “Amplified history from early medieval Europe”. Although based on an era long ago I believe that some of Heilungs success is a representation of how Viking mythology has become more mainstream than Horror. Although a completely different genre, the theatrics remind me of an updated early Cradle Of Filth ( I know right… what the hell is he talking about). No electronic instruments to be found. The percussion beats with flaming sticks and everyone has the horn… scrap that …the bone… scrap that, antlers.
Ben - Death Goals (7) Arriving ten minutes late due to chatting with a charming Irishman, we’re met by a crazed front man in a granny dress orchestrating a circle pit. They say that they are a hardcore band that love people. My eardrums may say otherwise but as a two piece undoubtedly sound loud and impressive . It’s not regular to hear a modern rendition of the old hard punk that influenced the likes of Slayer. I’m not a huge fan. However, the contrast of aggression in a floral frock is an admirable thing.
Ben - Heilung (9) Experimental folk band from Denmark, Norway and Germany. Heilung describe their music as “Amplified history from early medieval Europe”. Although based on an era long ago I believe that some of Heilungs success is a representation of how Viking mythology has become more mainstream than Horror. Although a completely different genre, the theatrics remind me of an updated early Cradle Of Filth ( I know right… what the hell is he talking about). No electronic instruments to be found. The percussion beats with flaming sticks and everyone has the horn… scrap that …the bone… scrap that, antlers.
Semi nude choreography entices the crowd to move with and remember the old gods and goddesses. It’s easy to see the appeal. A phantasmagorical reenactment of the rituals of times looked back on in romantic fashion. The stage show is fantastic! A percussive and chant driven trance inducing solute to pagan practice, worship of the natural world and primal passion. In fact there is a strong possibility that I may somehow be pregnant now. The rituals are met by the loudest cheers of the festival so far. The smell of sage overpowers the smell of weed as the mock ceremony continues. Throat singing and spoken words are driven by the bashing of spear and shield.
The rhythms are mighty but may be lost on some if not for the aesthetic and routine. Although no interaction with the audience other than a subtle whispered thank you as the show finishes, you can see by how the onlookers move that they want to get involved. The set ends with the tribe blessing us… perhaps we’ll all now meet again in Valhalla. As a visual spectacle and all round experience, Heilung are recommended.
Taking a brief visit to the VIP area after hours was both a brilliant and terrible idea. As we were roped into shenanigans by excited and friendly crew, bands and punters alike till the early hours. Scuttling away like crabs in the darkness, although now nearing 4am the camp isn’t as quiet as last night due to some loud extracurricular activities coming from the artist camp area. maybe around 110 bpm, going into an offbeat prog section, some final blast beats and then a slowing breakdown. This festival is having an effect on people. If the culprits are reading this then good for you.
The rhythms are mighty but may be lost on some if not for the aesthetic and routine. Although no interaction with the audience other than a subtle whispered thank you as the show finishes, you can see by how the onlookers move that they want to get involved. The set ends with the tribe blessing us… perhaps we’ll all now meet again in Valhalla. As a visual spectacle and all round experience, Heilung are recommended.
Taking a brief visit to the VIP area after hours was both a brilliant and terrible idea. As we were roped into shenanigans by excited and friendly crew, bands and punters alike till the early hours. Scuttling away like crabs in the darkness, although now nearing 4am the camp isn’t as quiet as last night due to some loud extracurricular activities coming from the artist camp area. maybe around 110 bpm, going into an offbeat prog section, some final blast beats and then a slowing breakdown. This festival is having an effect on people. If the culprits are reading this then good for you.