Words: Kate Allvey // Photos: Penny Bennett and Paul Lyme

Beauty School

The timeless longing of ‘The Reaper’ turns a couple of onlookers into a vast, laid-back crowd within minutes, all of us ready to have our pains eased. ‘Old Rotten Teeth’ blooms with nostalgia for the Leeds of their youth, and we’re filled with emotional warmth for Beauty School’s mellow hardcore that’s as rich in sentiment as it is full of hope for the future. 

Reclus.E

They’re the fresh new project that feels like they’re created as timeless soothsayers against the pretentiousness of the world, and Reclus.E make brutal, beautiful post punk that twists into wails. “I’m sorry I’m not an angry man screaming,” laughs vocalist Soren Bryce, but in a lineup packed with just that, her outsider take on the problems of the world makes for an intelligent, appealing respite.

House of Protection

Immersive and charismatic, House of Protection have emerged from the ashes of Fever 333 as a force to be reckoned with. Barely recovered from the heaviness of ‘Pulling Teeth’, vocalist Stephen Harrison directs ‘Learn To Forget’ from the middle of the circle pit, his mic stand a tiny island in a whirlpool of people. Lunchtime surfers flip towards the front for ‘Fuse’, a highlight of an endlessly dynamic and massive set. 

Free Throw

Free Throw’s passion fills out the Axiom Stage as the sun’s rays lengthen. Before they even finish opener ‘Missingno’, there’s no room left. ‘Pallet Town’ conjures memories of streets past as we fan ourselves with the fumes of their regrets and cloud-like choruses send us swaying. We’re dancing our troubles away, fuelled by the knowledge that catching Free Throw was the best decision of the day. 

Banks Arcade

The fizzy anti-boyband chuck sharp riffs at The Cave and we are ready to slam. ‘Move’, from their upcoming release, builds into towering echoes before we’re thrown into screwed depths, and ‘Be Someone’ shows that the sweary Kiwis have a serious side which could lead to some impressive stadium potential. If they keep throwing out heavy electro with their metalcore, we’ll be seeing a whole lot more of these guys on much bigger stages. 

Mallory Knox

We’ll never stop being grateful that Mallory Knox have returned, and ‘Beggars’ instant connection reminds us of why we’re so thankful. ‘Getaway’ provides otherworldly comfort, and ‘Wake Up’ is always beautiful in the way that it can unite so many tribes within the alt world into one huge singalong. It’s the delicacy at the heart of ‘Shout At The Moon’ that proves that Mallory Knox are the masters of both the emotive echo and the festival anthem.

The Wildhearts

We’re very pleased to see these late additions to the lineup, as early shouts of glee attest. ‘Failure Is The Mother Of Success’ keeps it old school, with rip-roaring solos and an easy, accessible energy. As their “celebration of life” rolls on, we’re struck by how it’s the warmth of community and good humour which makes a Wildhearts show such a great experience. We toast to ‘Mazel Tov Cocktail’, jump, laugh, and bark back at Maggie the dog’s brief onstage cameo. 

Arcane Roots

The hotly anticipated return of Arcane Roots is worth eight years of waiting for the payoff. Sirens, strings and delicious slow burn announce ‘A Wave, Across The Sea’. It is ever-changing, living art and we just have to stand back and let it wash over us. We raise our hands to worship ‘Matter’, fully aware that we’re experiencing what could be the Band of The Weekend who’ve used their time away to take their emotional gut-punch to the next level. 

Cancer Bats

We’ve got no time to recover from the aftermath of Arcane Roots or “the brutal sun roasting our flesh,” as vocalist Liam Cormier puts it, because there’s no way we’re missing Cancer Bats. ‘R.A.T.S’ takes everything up to eleven before ‘Bricks & Mortar’ calls down the night and a spring-loaded Cormier commands our pit for ‘Lucifer’s Rocking Chair’. They’re a reliable source of the heaviest noise around, a musical steamroller, and we’re rewarded for our endurance with a Beastie Boys cover and a beachball party. 

Funeral For A Friend

There’s more than a pinch of Trees magic in the air as children with rainbow glow sticks giggle during a proper heavy rock show. “It’s a fucking amazing place to be!” Lucas Woodland grins, having the time of his life. His inclusion in Funeral For A Friend is Trees personified; he’s just as much a fan of the band as we are, and the community spirit between old fans and new, between the band and us, is what makes their set so glorious. Of course, the gorgeous guitar appeal of ‘Bullet Theory’ helps, as does the hypnotic rhythm of ‘Monster’, but this is a set radiating with love from every corner. 

If we have to pick the times where we felt the elusive festival spirit the most, ‘The End Of Nothing’ has to be on the list. After all, it is “a fucking banger” as Woodland puts it, essential and compelling with every riff. Every song bursts with an energy that makes you want to revel in each moment until ‘Escape Artists Never Die’ sends us off to the Silent Disco. “Every time we play on stage, we play like it’s the last time,” the frontman admits, and it’s this beautiful transience which they’ve captured at every turn. 

With the rise of streaming, the 2010s have seen the subtle merging of genres, making what might be the most interesting decade for alternative music yet. With that in mind – and with a lot of difficulty narrowing down the potential candidates – the Punktastic team have taken a look back over the past decade and picked our favourite albums of the era.

Check it out. The most unmissable albums of the decade according to Punktastic.

Don’t forget to read our Bands Of The Decade and Bands Of The Next Decade articles.

Oathbreaker – ‘Rheia’ (2016)

Oathbreaker’s 2016 opus ‘Rheia’ would turn out to be the last thing they released before an as-yet unfinished hiatus, but good lord did they leave us on a high point. The Belgian quartet, headed up by the captivating and enigmatic Caro Tanghe, served up a bewildering and gut-wrenching slab of post-black metal delivered with all the fury and indignation associated with the hardcore and punk scenes in which they cut their teeth. The one-two punch of ’10:56′ into ‘Second Son of R’ is one of the most impactful openers in alternative music history, soaring from sombre serenity into unbridled panic with very little warning, and the rest of the album that follows is stellar right up to the last gasp. The band recently teased a comeback with a single released through Adult Swim, so hopefully it won’t be long before we see a proper follow up to this breathtaking album. LIAM KNOWLES [LK]

MOST NOTABLE TRACKS: Second Son of R, Needles In Your Skin, Immortals

Rolo Tomassi – ‘Time Will Die And Love Will Bury It’ (2018)

To say that Rolo Tomassi have undergone a transformation over the years is somewhat of an understatement. From their beginnings as mathcore synth-heavy makers of noise, they’ve slowly but surely refined their craft into what it is today, creating moody and flowing sonic soundscapes that have the power to both summon demons and slay them. Their 2018 record ‘Time Will Die And Love Will Bury It’ is a masterpiece, not just setting a career high bar for their own discography but hugely raising it for all of their peers, too. It’s one of those albums that begs to be listened to from beginning to end in order to fully appreciate the sheer beauty of the ebb and flow of the album. From the black metal-tinged onslaught of ‘Rituals’ to the soaring epic walls of tone in ‘A Flood Of Light’, the record masterfully drifts in and out of the aggression and the serenity like child’s play, taking you on an intense and often magical journey through musical genius. This isn’t just one of the best records of 2018 – it’s one of the best of the entire decade. Simply extraordinary. DAVE STEWART [DS]

MOST NOTABLE TRACKS: The Hollow Hour, Rituals, A Flood Of Light

The Dillinger Escape Plan – ‘Dissociation’ (2016)

The influence that The Dillinger Escape Plan has had on extreme music is entirely undeniable. They established themselves as rule breakers and equipment breakers from a very early stage, stunning audiences and panicking venue owners all over the world with their unmistakable brand of chaotic, raw and mind-bending noise. They started out as a band doing things differently and became legends over time, every album release further cementing their legacy. ‘Dissociation’ was their final record, marking 20 years of the bands existence and putting a heavy and definitive bookmark at the end of their phenomenal career. From the white knuckle rollercoaster of ‘Limerent Death’ and the shrilled stabs of ‘Honeysuckle’ to the subtle and serene title track, and the bipolar mind bender ‘Surrogate’, it rounds off their career in the best way possible. It not only shows how much they grew as musicians over the course of their career, but it also effortlessly showcases that they’re still very much in touch with their roots and haven’t lost a shred of the unpredictability that brought them to everyone’s attention in the first place. A frenzied, intense and poignant final note for one of the most unique bands of this generation. [DS]

MOST NOTABLE TRACKS: Limerent Death, Symptom Of Terminal Illness, Honeysuckle

The Heavy – ‘The Glorious Dead’ (2012)

Combining hard-rock and soul, on paper, sounds awful and it would be, had the quartet from Somerset not spent the past five years perfecting it. Despite not being a metal album, The Heavy deliver just that with their third album – a weighty fusion of genres that is as unpredictable as it is enjoyable. Samples from old grindhouse horror in ‘Can’t Play Dead’, wailing backup vocals mixed with teeth-chattering percussion in ‘Same Ol’’, and the kind of riffs that reverberate in your chest on ‘What Makes a Good Man’ make for the kind of album that feels all over the place, but whose core ideas connect ten energetic tracks into something truly pulse-pounding. It’s bluesy, it’s pompous, but somehow also wonderfully self-reflective and introspective when it wants to be. It’s a style no band has been able to replicate, and it remains The Heavy’s magnum opus seven years on, an unmissable sound of the decade. FIACHRA JOHNSTON [FJ]

MOST NOTABLE TRACKS: What Makes A Good Man?, Same Ol’, Curse Me Good

Idles – ‘Joy As An Act Of Resistance’ (2018)

This doesn’t need explaining. It’s not often a punk album gets nominated for a Mercury Award but that’s exactly what happened with Idles sophomore album ‘Joy As An Act Of Resistance’. Politically charged from the outset, it contains all the cynicism from their debut ‘Brutalism’ and even more societal observations. What it adds in spade is singsong choruses. The likes of ‘Danny Nedelko’ and ‘Samaritans’ offer stunningly visceral social observations but contain choruses you can picture arena sized crowds screaming, while ‘Never Fight A Man With A Perm’ has the perfect combination of wit and venom, not to mention some feet stomping rhythms. It wasn’t really considered for our Album Of The Year in 2018 but it should have been. And it should have won. ANDY JOICE [AJ]

MOST NOTABLE TRACKS: Never Fight A Man With A Perm, I’m Scum, Danny Nedelko

Gojira – ‘Magma’ (2016)

Nobody, not even the most determined of metalheads, could make a case for technical progressive metal being the most accessible of genres. Although popular in its own way, it has always felt like something that will remain more of a niche sound – that is, until Gojira came along. The band have been masters of their craft since their beginnings nearly 20 years ago, but 2016’s ‘Magma’ is their true piece de resistance. Brimming with gut churning heaviness and an introspective darkness, there is tremendous pain reflected in many places – driven by brothers Mario and Joe DuPlantier losing their mother – building in phenomenally powerful layers, topped by Joe DuPlantier’s haunting vocal performance. It offers a more ‘radio-friendly’ version of their progressive metal, if radio-friendly could ever be the right word for such a crushing sound; with beautifully constructed riffs and melodies, it’s only right that this was the album to elevate this magnificent band to festival headliners. Quite frankly, we don’t deserve metal this good – but boy are we glad we’ve got it. GEM ROGERS [GR]

MOST NOTABLE TRACKS: Silvera, Stranded

The Hotelier – ‘Home, Like Noplace Is There’ (2014)

Unrelenting in its voice of despair, tragedy, reminiscence, pain and its desperate attempts to heal, ‘Home, Like Noplace Is There’ is framed by the frantic, yet poetic, lyricism of Christian Holden, begging you to sit up and listen. The anguish of their cries throughout the record, from the “So if I call / Should I beg? / Because I’m desperate here” in ‘An Introduction To The Album’ to the “I felt weaker when I bent, beaten to the end / Folding on myself, too damaged to mend” in ‘Discomfort Revisited’, are almost too uncomfortably raw to intrude upon, yet leave listeners unable to look away from what is about to unfold.

From the one-two punch of scrappy punk in ’The Scope Of All This Rebuilding’ to the almost-ethereal ‘Housebroken’, ‘Home..’ is masterfully paced from start to finish, always knowing when to pause when it seems like everything is about to implode. Whilst conveying various mental health crises masked in upsettingly close to the bone metaphors, the Hotelier also succeed in making a record that broaches topics such as gender dysphoria, the systemic failures of the state, and police brutality. ‘Home…’ also nods to long-term fans of the band with subtle references to their earlier material in ‘An Introduction’ (“we are all alone” / “Grab a hold, I know I said to not”) and in particular in ‘Discomfort Revisited’, borrowing the first verse and melodies of ‘Southern Discomfort’. The Hotelier’s growth as artists and the evolution of their songwriting on ‘Home…’ is never more apparent than on these two songs. The infinite looping of the traumas of life are alluded to in the album’s final moments as a guitar reprises the beginning notes of ‘An Introduction…’; the album beginning exactly as it started. ‘Home…’ offers listeners no salvation, but serves as a reminder that you too can weather the extreme storms life can sometimes bring and make it through to tell your story. ROMY GREGORY [RG]

MOST NOTABLE TRACKS: An Introduction To The Album, Your Deep Rest, Dendron

Arcane Roots – ‘Left Fire’ (2012)

Realistically, any one of Arcane Roots’ three albums could easily have made this list. Picking one is like choosing your favourite puppy from the litter of labradors next door, but this time, it falls to the trio’s 2012 debut ‘Left Fire’. Clocking in at just 33 minutes, it was nevertheless a fearsome display of their capabilities; the intense technicality, the irresistible frenetic energy, the harmonies that swell like the ocean on a stormy day… It’s the perfect album to lose yourself in completely and utterly, and despite its musical complexity never feels inaccessible or overdone. Such was the genius of Arcane Roots, who sadly called it a day in 2018 – but not, at least, before leaving us with this slice of perfection to enjoy forever. [GR]

MOST NOTABLE TRACKS: You Are, Habibty – Extended, Rouen

Twin Atlantic – ‘Free’ (2011)

It’s so rare to find an album where every single track hits home in some way. This might not be the case for everyone when they listen to ‘Free’, in fact, for many it’s probably not – the harsh Scottish accent I understand might be too much for some – but for me, since the very first time I listened through, I knew this record would be with me for a long time. Now it’s the end of the decade and ‘Wonder Sleeps Here’, ‘Yes, I Was Drunk’ and ‘Serious Underground Dance Vibes’ are still three of my top favourite songs… pretty much ever.

With this record there are memories of dark winter nights, first loves, and a feeling of belonging. ‘Free’ has a song for falling both in and out of love, offering a warm hug through the latter. It has a song for when you’re angry and need to shout it from the rooftops. It has a song for when you’ve never felt happily and a song for when you finally learn to love yourself. As the album title suggests, it takes you on a journey following which you will undoubtedly come out the other side feeling a sense of liberation.

Free’ is not just one of the best rock albums of this decade, but to me, at least, it’s one of the best rock albums of all time. To create something that builds memories for your fans is a powerful thing, and Twin Atlantic have proven on more than one occasion that they have the ability to do this, though never more so than with ‘Free’. YASMIN BROWN [ YB]

MOST NOTABLE TRACKS: Wonder Sleeps Here, Yes, I Was Drunk, Serious Underground Dance Vibes

twenty one pilots – ‘Vessel’ (2013)

“The sun will rise and we will try again”, sings frontman Tyler Joseph at the start of closing track ‘Truce’. It’s a simple yet powerful phrase that six years later still holds as much weight as it did upon the release of the band’s third album ‘Vessel’ back in 2013. This line alone encompasses everything that this record stands to achieve. It’s comforting and supportive. It acknowledges pain but equally it acknowledges our ability to push through it without belittling the stark reality of depression that many of us have faced over the course of our lives.

The reason so many of us can relate to twenty one pilots – and to ‘Vessel’ in particular – is their uninhibited approach to topics that were, upon its release, still massively stigmatised in mainstream music. To talk so openly (albeit through the use of metaphors) about self-harm and suicidal ideation was, and still is to an extent, brave. It’s something so many of us experience on a daily basis and yet we feel alone in that because so few of our idols have addressed it. That’s why when ‘Vessel’ was released, those who experienced these thoughts, feelings and urges finally felt a little more understood, and through that, many could hope to heal, too.

‘Vessel’ came before tøp hit arenas; they had little expectation in terms of who this record might reach, and yet the lives of those it did reach were made so significantly better for the songs that live within its confines. Whatever you may think of twenty one pilots now, ‘Vessel’ has been one of the most important records of this decade for the band’s fans, and that’s something no one can deny. [YB]

NOTABLE TRACKS: Holding Onto You, Guns for Hands, Truce, Screen

Boston Manor – ‘Welcome To The Neighbourhood’ (2018)

As twenty-something year olds living through the turn of another decade, there’s a lot we’ve experienced in our lives. Society has changed monumentally since we were kids, and politics are more polarising than ever. Millennials are so riled up about some things, yet so apathetic about others, and it’s hard to articulate how we feel and why we feel it.

Boston Manor have somehow perfectly tapped into this total confusion with their sophomore album, Welcome to the Neighbourhood, building on a fictional world that’s based on our stark, painful reality, and telling a story from within it. This album is a message from peer to peer, highlighting issues to the point that makes you want to do something about it. It’s angry and passionate because we are angry and passionate, and it’s impactful for the exact reason that there’s no bullshit here. It’s an album that tells it like it is, and as you make your way through each flawless track, you find yourself wanting to make a difference.

As someone in my late-twenties – someone that, along with others my age, often gets reduced to “Ugh, millennials” – this record leaves me feeling empowered enough to go out there and do something. Anything at all. Released in 2018 it’s a late arrival in the running for most important album of the decade, but there’s no doubt that it absolutely deserves a spot on this list. [YB]

MOST NOTABLE TRACKS: Halo, The Day I Ruined Your Life, Flowers in Your Dustbin, If I Can’t Have it No One Can

Fucked Up – ‘Glass Boys’ (2014)

‘David Comes to Life’ (2011) may have fared better commercially and ‘Dose Your Dreams’ (2018) may have been more critically acclaimed, but for Fucked Up fans missing the tightness of the band’s early singles, ‘Glass Boys’ (2014) was the band’s best album of the 2010s. Whilst the Toronto sextet said they wanted to do away with the concept album and rock opera tendencies of their second and third albums, what they delivered was an autobiographical concept record about their own anxieties over having potentially become thirty-something sellouts. The guitars lost the overly radio-friendly sheen that producer Shane Stoneback brought to them on ‘David…’ and each song featured four (count them!) drum tracks. Highlights included ‘Sun Glass’, ‘Paper the House’, and the poignant title track. ‘Glass Boys’ was a moving meditation on the tension between youthful ideals and adulthood’s commercial imperatives, whose songs are now sadly eschewed from Fucked Up’s live sets. GREG HYDE [GH]

MOST NOTABLE TRACKS: Sun Glass, Paper the House, Glass Boys

The Rocket Summer – Zoetic (2016)

On his sixth studio full length, The Rocket Summer – aka multi-instrumentalist Bryce Avary – changed the formula. Injecting these eleven tracks with a more electric, dark vibe resulted in something completely unexpected from the man more known for his gentle, acoustic sound, but one thing is key – the heartfelt familiarity and beauty of his lyrics remains, and ultimately, it all comes together for some of the greatest work of his career so far. Avary’s words are at times the most comforting of embraces, or at others, a steady hand of support, dancing through this often energetic and always vibrant release; from the echoing harmonies of ‘Help Me Out’ to the truly gorgeous pop chorus of ‘FL, CA’, this is an album that quickly finds itself embedded in the heart and soul, offering a boost of life to anyone in need. Avary is an artist who has continued to grow and shine through the last decade, and we can’t wait to see what the next one has in store. [GR]

MOST NOTABLE TRACKS: You Are, You Are, Help Me Out, FL, CA

La Dispute – ”Rooms Of The House’ (2014)

La Dispute released three albums in the 2010s and although ‘Wildlife’ (2011) remains the one most well-liked by die-hard fans, the band’s most accomplished storytelling and musicianship featured in ‘Rooms of the House’ (2014). The album portrayed the downward trajectory of a young, blue-collar, Midwestern couple’s relationship from the viewpoint of their household objects. It cut between various points before, during, and after their break-up across a timeline spanning 1956 to 2009. Frontman Jordan Dreyer’s delivery made you really want things to work out for the couple, but there was a constant sense of doom underpinning a narrative played out across an unforgiving economic landscape where job opportunities were few and alcohol addictions were cheaper alternatives to cocaine habits. Despite the epic timeline, the domestic setting leant a feeling of intimacy to the songs that was lacking from the almost as great ‘Panorama’ (2019). [GH]

MOST NOTABLE TRACKS: First Reactions After Falling Through the Ice, Scenes From Highways 1981 – 2009, For Mayor in Splitsville, Extraordinary Dinner Party

Oxbow – ‘Thin Black Duke’ (2017)

The only album of this decade from the veteran San Francisco avant-gardists comprised eight songs depicting the inner torment and external confrontations faced by the titular duke (possibly an alter ego of preceding Oxbow album ‘The Narcotic Story’ (2007)’s protagonist Frank Johnson). Inaccurate comparisons to Faith No More were made in reviews that discussed the album’s sound upon its release, with one far more shrewd online comment saying it sounded like The Jesus Lizard playing Bond themes. Either way, the album took listeners on a disturbing narrative journey from catchy single ‘Cold & Well-Lit Place’ (which gained the band BBC airplay) through to the Jean-Paul Sartre-alluding ‘Other People’ and devastating closer ‘The Finished Line’. It may be less abrasive than albums like ‘Fuckfest’ (1989) and ‘King of the Jews’ (1991) but the songwriting displays a maturity and world-weariness that those works lacked. ‘Thin Black Duke’ remains Oxbow’s most profound, satisfying, and multi-layered album yet. [GH]

MOST NOTABLE TRACKS: Cold & Well-Lit Place, Other People, The Finished Line

Touché Amoré – ‘Stage Four’ (2016)

‘Stage Four’ (2016) is the most moving album of Touché Amoré’s career and was one the best albums of 2016, dealing as it did with the death of front man Jeremy Bolm’s mother from cancer. The songs dealt with the various stages of grief in an admirably honest way, from the regret over various things left unsaid to a deceased loved one in ‘Flowers and You’ and ‘Palm Dreams’, to a bereaved atheist’s acceptance that while there may be no afterlife, there may instead be a spirit world on ‘Skyscraper’. The elegiac sounds made by Nick Steinhardt’s and Clayton Stevens’s guitars bolstered the lyrical content considerably, with the Godspeed You! Black Emperor influences on the latter’s playing style in evidence here far more than ever before. ‘Stage Four’ remains one of the most touching albums ever made about grief, released in a year when its songs’ sadness seemed to reflect many accompanying political upheavals. [GH]

MOST NOTABLE TRACKS: Flowers and You, New Halloween, Palm Dreams, Water Damage

My Chemical Romance – ‘Danger Days: The True Lives Of The Fabulous Killjoys’ (2010)

My Chemical Romance becoming the posterboys for modern emo came as little surprise to anyone – they wore their eye liner thick, clothes black, and wrote lyrics that dripped venom and sorrow in equal parts. With ‘Danger Days’, however, they took all the grandeur of glam rock – vocalist Gerard Way having previously cited Bowie as a massive influence in his life – and rolled it in the dirt of that first basement show they ever played. The result? Gritty punk rock with soaring choruses, glittery melodies and synthy accents that shattered the hinges of the broken and damned box they were put into to showcase a band capable of achieving a more uplifting sound. Not to say their lyrics became less introspective, but it shifted the spotlight to more positive aspects and wrapped it in storytelling and concept – all delivered in Gerard’s Billy Corgan-esque vocal. This album is fun, danceable and a true testament of what this band is capable of. RENETTE VAN DER MERWE [RVDM]

MOST NOTABLE TRACKS: Vampire Money, Party Poison, Planetary (GO!), Na Na Na (Na Na Na Na Na Na Na Na Na)

Bring Me The Horizon – ‘Sempiternal’ (2013)

Regardless of how you might feel about Bring Me The Horizon post ‘That’s The Spirit’, it’s impossible to deny the impact of their 2013 album, ‘Sempiternal’. Not only was is released to critical acclaim, but it also won ‘Best Album’ at Alternative Press’s 2014 Awards and placed at no.11 on the Billboard charts – not bad for a band who had been ridiculed since their inception back in 2004. Regardless of its acolytes, ‘Sempiternal’ is a sonic masterpiece. It felt bigger than everything they’d done prior, hell, it felt bigger than what any other metalcore band was doing and it definitely felt like they’d gotten rid of the chip on their shoulder and fully embraced a sound that was their own. With the addition of electronic elements and more variety in Oliver Sykes’ vocals, the album felt ambient, cohesive, refreshing and, most importantly, accessible. ‘Sempiternal’ will no doubt go down in history alongside the best metal albums of our time. [RVDM]

MOST NOTABLE TRACKS: Sleepwalking, Shadow Moses, Can You Feel My Heart, And the Snakes Start to Sing

Microwave – ‘Death Is A Warm Blanket’ (2019)

Isn’t it something when a band transitions from one genre to another and does it really well? When Microwave left the uplifting melodies of ‘Stovall’ and ‘Much Love’ behind to dive into the brooding sound of their third album, ‘Death Is A Warm Blanket’, it resulted in what seemed like a totally different band. Yet, despite having embraced the dark side, it is still the same four guys from Atlanta who tell stories through their music, write clever lyrics and melodies with heart. Nathan Hardy’s vocal range remains impressive and his voice acts like a firefly, bright and illuminating against the moodiness and urgency of the instruments. ‘Death Is A Warm Blanket’ is not only sonically impressive and diverse – the intro to ‘Float to the Top’, as an example, has all the jazzy makings of a lounge song while they lean further into post-hardcore or grunge on other tracks – but it’s the album we need right now. The anger and hopelessness of an entire generation encapsulated in 10 tracks. [RVDM]

MOST NOTABLE TRACKS: Leather Daddy, Mirrors, Float to the Top, Part of It

Against Me! – ‘Transgender Dysphoria Blues’ (2014)

There are albums out there, occupying shelves in record stores or bytes on streaming platforms, that are all about lyrical content, and ‘Transgender Dysphoria Blues’ is one of those albums. It touches on vocalist Laura Jane Grace’s journey to where she is today, and the brutal honesty about her pain becomes a thing of beauty through her powerful storytelling. It’s wrapped in the punk rock beats, jangly guitars and anthemic structures we’ve come to adore from Against Me!, but ultimately ‘Transgender Dysphoria Blues’ is a stellar record because of the anger, the sorrow and the bravery of someone living with gender identity disorder. Laura Jane Grace, as one of the first transgender musicians in punk rock, is a bastion of light for anyone in the LGBTQ+ community and this album is her reaching hand to pick you up off the floor when you’ve fallen down – what the hell is more punk rock than that? [RVDM]

MOST NOTABLE TRACKS: Transgender Dysphoria Blues, Drinking With the Jocks, Paralytic States, Black Me Out

SWMRS – ‘Drive North’ (2016)

The first studio album under the new name from Californian rockers, SWMRS, but most certainly not the last. To me this album signifies the passion the band have to make a change. To most this was the first they heard of SWMRS and I believe it was a stand out album that is still being name dropped 3 years on. Each song on this album links well with the next which makes for easy listening every time. This album is a pinpoint within the bands’ career and is a testament to what they are capable of. KIRSTY FOX [KF]

MOST NOTABLE TRACKS: Harry Dean, Drive North, BRB, Palm Trees

Deaf Havana – ‘Old Souls’ (2013)

In perhaps one of the most surprising evolutions of the decade, Deaf Havana emerged in 2013 with their magnum opus (in this writers’ eyes) and unashamed tribute to the one and only Bruce Springsteen with ’Old Souls’. A far cry from their preceding album ‘Fools and Worthless Liars’, Deaf Havana embraced the expanded musicianship in their arsenal head on, creating an album resonant with dense orchestration, rich harmonies and expertly-crafted choruses. From the get-go with the barn-storming Americana of ‘Boston Square’, ‘Old Souls’ drips with tenderness throughout, due in no small part to James Veck-Gilodi’s heart-on-sleeve lyricism. With such poetically crafted lines such as “because I view my life through a telescope / that I built from a bottle and a slippery slope” in ‘Speeding Cars’, Veck-Gilodi’s self-deprecation woven throughout ‘Old Souls’ speaks directly to anyone who has tendencies to doubt themselves. Whilst not the most warmly received of Deaf Havana’s releases, particularly after the success of ‘Fools and Worthless Liars’, ‘Old Souls’ is perhaps the best, yet most criminally underrated, straight-up rock record from a British band in the decade. [RG]

MOST NOTABLE TRACKS: Everybody’s Dancing and I Want To Die, Speeding Cars, Kings Road Ghosts

Four Year Strong – ‘Enemy Of The World’ (2010)

If any album could possibly define summer, it’s surely this one. Coming in early in the decade to start things strong, Four Year Strong’s ‘Enemy Of The World’ was one hell of a sophomore release (covers album ‘Explains It All’ doesn’t count… sorry) for the band who blasted onto the pop punk ‘easycore’ scene three years earlier, and there’s not a single low point to be found on this lively and joyous 40 minute tour through the world of FYS. Within seconds of hitting play, it feels like being transported back to a happier time, when the only thing that mattered was friends and happiness – whether that time ever actually existed or not, the memories evoked are clear as day. Four Year Strong weren’t just about bright riffs and a punchy attitude, though, and their emotive lyrical strength shines on tracks like ‘One Step At A Time’. Then, of course, there’s the album artwork. The words you’re looking for to describe it are ‘majestic’ and ‘breathtaking’, just FYI. Made to be played loud and sung along to even louder, ‘Enemy Of The World’ defined an era of music, and it only takes a quick glance at the size of the jubilant crowds bellowing the words to ‘Wasting Time (Eternal Summer)’ at any festival to realise just how well loved this album is – and it deserves every scrap of it. [GR]

MOST NOTABLE TRACKS: Wasting Time (Eternal Summer), ‘One Step At A Time’, It Must Really Suck To Be Four Year Strong Right Now

First act Emily Denton, a close friend of the band, nervously performed a beautiful set. Armed with an acoustic guitar and a keyboard, she led the room through five delicate tracks, rendering the crowd completely silent. A natural performer she might not be, but a natural talent she is.

Second act Bryde – singer-songwriter Sarah Howells – had a similar effect on the audience. Possessing swagger and confidence in troves, she had complete command over everyone in earshot. The music drew a lot of similarities to Arcane Roots; dark and brooding in places, but well balanced with light and melodic passages. Both acts acted as the perfect warm-up for the main event, and what a main event it was.

Arcane Roots crept onto a smoke filled stage and opened with ‘Before Me (Over)’, the first track from their most recent EP ‘Landslide’. A re-imagining of the original version from their 2017 album ‘Melancholia Hymns’, this first track would set the vibe for the rest of the set. An electronic, stripped back and emotive tribute to the bands career. The perfect goodbye.

Hoxton Hall was completely silent during every single song, the crowd hanging on every word that left lead vocalist Andrew Groves’ mouth. From reworked versions of ‘Fireflies’ and ‘Indigo’, to rarely performed songs like ‘Winters Wept’, it was impossible for them to put a foot wrong. Every note was precise and perfect, every beat was tight and locked in. There was nothing to point flaws at. The simple light show that they brought with them heightened the performance, too, almost acting as a fourth member of the band. Neon lights, floodlights and delicate spotlights were all used throughout, adding another level of depth to the music.

The set contained material that spanned the bands entire career, with songs like the very recent ‘Landslide’ sitting alongside older numbers like crowd favourite ‘Belief’ from 2013. The latter sparked a mass singalong, with audience members delicately but heartily placing their voices underneath Groves’ powerful and emotive tones. The highlight of the set was a mesmerising version of ‘Rouen’, with vocal help from opener Emily Denton. Her voice was beautiful and sat on top of the music like it belonged, causing goosebumps to flood through the audience as they looked on in awe – if the music came to a sudden stop, you would have heard a pin drop. They ended the night with a performance of ‘Off The Floor (Fade)’, a powerful electronic crescendo that faded into silence and left a few attendees in tears. The end of an era.

Arcane Roots gave London an intense, powerful and moving night, leaving the audience both satisfied and saddened. A band at the top of their game, bowing out way too soon. If they decide to return further down the line, they will be welcomed back with open arms; if not, though, these last few shows have served as a fitting tribute to a phenomenal band.

Farewell, Arcane Roots. You will be missed.

DAVE STEWART

‘Landslide’ is galaxies beyond the bolt-ons of half-hearted acoustic rehashes and remixes we’ve come to expect from studio efforts of its ilk. Elaborating on front man Andrew Groves’ inspiration from the likes of James Blake, Björk and Four Tet, it takes three cuts from Arcane Roots’ phenomenal sophomore album, 2017’s ‘Melancholia Hymns’, and gives them a new lease on life as vast soundscapes of ambient electronica.

‘Before Me’ – which is suffixed with the parenthesis ‘(Over)’ on this EP – is taken to new levels of cosmic majesty, especially with the added harmonies of London singer-songwriter Emily Denton. The haunting final refrain of ‘Don’t you think it’s already over?’ lodges itself in the mind as ‘Matter (Revel)’ makes an even grander entrance with sweeping synths and Groves’ wall-of-sound vocals.

The titular track builds from dystopian atmospherics to a ferociously heavy climax, but in the confines of this EP, feels more like a Melancholia Hymns b-side. The eight-minute conclusion of ‘Off The Floor (Fade)’, however, brings matters to a surprisingly pacy head with ticking percussion and technicolour charm. It just goes to show that the three-piece are adamant to burn out brighter than ever before, rather than fizzle away.

Even when you strip away the mind-bending hooks and explosive passages that we’ve come to love this band for, these tracks have lost none of the power or poignancy. Whatever happens from here, Arcane Roots can soar off into the ether gracefully, and safe in the knowledge that they’re doing so on a landslide victory.

Images: William Pavli, Words: Mark Johnson 

Bradford’s Trigger Thumb open the Arc for the final time this year and they do it in style, stunning the festival’s early risers with a raft of creativity, originality and diversity. Arron Dulay’s incredible vocal range manages to sound like Matt Bellamy of Muse in one instant before dropping to low, growling screams and everything else in between. Musically, their angular, mathcore riffs are interesting and clever, but also laced with heavy grooves that aren’t too dissimilar to Arcane Roots at their heavy moments. Bass player Damen Hughes continues to command the stage – only this time with more room than when we last saw Trigger Thumb at StrangeForms – twisting and contorting his body in time with the jagged timing of their riffs. It’s great to see this hugely talented act move so quickly to the main stage of ArcTanGent and based on the reception they’ve earned here, there will be plenty of people looking out for them in the future.

Only Echoes Remain have a more direct approach to instrumental rock than most of the acts we’ve seen this weekend, diving headlong into big passages of noise with an urgency that doesn’t care for protracted build ups. Forceful and driving drums lead the band eagerly through passages of swelling bass, tremolo guitars and delicately overlaid lead lines that all converge to create a mass of sound. At times the band drift slightly apart as they navigate various time signatures and tempo changes, but it’s a minor hiccup in an otherwise solid set that shows the virtues of the more forceful side of instrumental rock music.

Over at Bixler, the noise intensifies further as Ilenkus arrive kicking and screaming, directly into the faces of the crowd. They’re currently touring with fellow noise merchants God Mother and their set seems almost like déjà vu, coming across very similar to yesterday’s offering from their touring partners. Heavy instrumentals, screamed vocals and a singular mission to ramp up as much intensity as possible, it’s a decent performance that makes sure the day three crowd is thoroughly wakened, though it does become monotonous as the set goes on.

VLMV released their gorgeous album ‘Stranded, Not Lost’ earlier this year and their minimalist, emotive songs provide a calming break from the ferocity that preceded them. The set gets off to a delayed start due to technical issues, the sound desk clearly struggling to accommodate the range of equipment necessary for VLMV to recreate their compositions live – including guitars, loop pedals, a laptop, a keyboard and vocal effects, as well as dual screens to lend a visual aspect to the performance. It’s a disjointed start once the set eventually gets underway, both musicians taking time to find their way around stage and settle into the performance, but as the set goes on the beauty of their music transcends any onstage gremlins. Vocals soar above gently strummed chord patterns, accompanied by electronically triggered ambiance to create a soothing atmosphere. It’s a shame that, just as they’re getting into the swing of things, their set has to be cut short due to the late start – but with so much potential on offer here, VLMV could become a hugely compelling act if they can fully coordinate everything on stage and make the performance as seamless as their beautifully constructed songs.

There’s nothing minimalist about Telepathy, however, who commit fully to their darkened brand of post rock with gusto. Their instrumental concoctions sound enormous on the Yokhai stage, conducted by powerfully struck drums and booming guitars that give their sound a sinister edge. There’s an underlying majesty to their songs, making them epic in scale, but with a sub tone of melody that means it’s not just bluster, the subtle harmonies making each track sound like an emotional reprieve in an ancient war that’s about to break loose. In the moments where this tensions snaps, drummer Albert Turek pounds the double bass and the bass guitar grinds low to add extra power, giving Telepathy one of the more impactful and memorable sets of the day.

Coldbones’ recent album ‘Where It All Began’ displayed a remarkable understanding of instrumental post rock for a band so young, and live, their material is even more breathtaking. Hitting the sweet spot between build up and pay off, their songs dance along at a perfect pace that always heads towards the most satisfying conclusion. On stage, the quintet play with such passion and commitment that it’s impossible to not get sucked in by their enthusiasm and as they visibly feel each note they play, the emotion bleeds through into the crowd.

Ever since Black Peaks released their phenomenal debut album Statues back in 2016 the wait for a follow up has been excruciating, but thankfully we now have a release date for album number two – ‘All That Divides’ on October 5 – and to tide us over till then, another flawless festival performance. Old favourites ‘Say You Will’ and ‘Saviour’ go down a storm as ever, but the raw power and ferocity of the new tracks, including new singles ‘Home’ and ‘Electric Fires’, are the real stars of the show. Demonstrating refinement and progress over their already staggering existing material, the wait for hearing the whole thing will now be even more painful. The voracity of drummer Liam Kearney and the unbelievable vocal talents of Will Gardner make for an unrivalled combination and with a barrage of clever yet biting guitar riffs, it’s a formula that never fails to leave a lasting impression in a live setting.

When a band can entertain you simply during a soundcheck, you know you’re in for something special. The front man of Belgium’s The Guru Guru continues to talk through an interesting tale about fish while he sound checks his microphone, giving the perplexed crowd an indication for what’s to come. The band groove through fuzzy riffs laced with the odd electronic effect, and unique vocals that bark and yell over the top to create one of the most zany and eclectic sets of the weekend. It’s not to everyone’s taste, but it’s great to see the range of diversity at the festival and it’s a welcome taste of the bizarre.

This closing day of ArcTanGent 2018 has been a celebration of variety and up next at Yokhai is another unique act, with Mouse on the Keys. Centred around two keyboard players and a drummer, the Tokyo act weave intriguing piano melodies around a constant stream of excellent, hard hitting drum grooves, pivoting around clever timing changes and tangential harmonies. Occasionally the band introduce saxophone parts into their songs as well, giving yet another dimension to an already diverse and enthralling act. A thoroughly enjoyable performance that attracts the largest crowd at Yokhai we’ve seen yet.

Arcane Roots’ recent record ‘Melancholia Hymns’ took their sound to grand new heights, expanding their angular alt-rock with an epic new soundscape, one of the catalysts being vocalist Andrew Groves’ newly found experimentation with electronics. Tonight though, there’s no synth to be seen on stage and the new-wave Arcane Roots sound is temporarily parked in favour of churning out all of their heaviest hits. ‘Triptych’, ‘Slow Dance’, and ‘If Nothing Breaks Nothing Moves’ all sound enormous on the Yokhai stage and when the band choose to air new tracks, it’s in favour of the more forceful ‘On The Floor’ and ‘Landslide’. Their ability to land bone crushing riffs amongst angelic vocal passages and melody is astounding and with Groves’ voice on top form as ever, the whole performances whizzes by in an instant. This setlist blends new with old better than any performance we’ve seen to date from Arcane Roots and their spotless execution might just make this their crowning achievement to date.

It falls to Shellac to close out another superb year of music at ArcTanGent and the veteran trio rise to the occasion well. Guitarist/vocalist Steve Albini has lent his production talents to many acts in the past and tonight his own band get the benefit of his intervention, the guitar tone sounding crisp and massive, whilst somehow maintaining a minimalist, clean feel. It’s backed up by a vibrant, lively rhythm section that’s so perfectly in time, despite navigating ever-changing time signatures, that you wonder whether the three band members all share the same brain. Despite being around since 1992, Shellac have managed to stay sufficiently under the radar to prompt many festival goers around us questioning the identity of tonight’s closing act, but after an hour of the band’s chunky riffs and driving drum beats, it’s clear that Shellac have earned their status as headliners.

This year’s stellar line-up has provided the chance to savour some favourites, as well as discover new hidden talent, and the new, fully-enclosed setup on the Main Stage has proved its worth against the seemingly constant drizzle. These incremental improvements, on top of the festival’s already established core, is what makes us eager to return every year. Bring on the next one.

MARK JOHNSON