ArcTanGent has an unfortunate reputation for something that’s totally out of the organisers’ control; awful weather. Anyone who lived through the downpour in 2019, watching bands while ankle-deep in rainwater will know exactly what we mean. Up until Friday, ArcTangent 2023 had been largely dry, but this is the day that the dreaded rain finally arrives. Luckily, however, it’s not a repeat of the washout of 2019, and with the right clothing and attitude, it doesn’t seem to noticeably dampen people’s spirits across the site.

Words: Ash Bebbington  Images: Paul Lyme

Hidden Mothers

Friday opens with an extremely early set from Sheffield post-black metal band Hidden Mothers. Despite the 11am start time, they’ve pulled a big crowd of intrigued headbangers. If there are any cobwebs to be dusted off among the crowd, they’re quickly swept away in a maelstrom of explosively quick guitars and banshee-like vocals. There’s also some more expansive cleaner sections, with one of the guitarists stepping in on backup vocals, making the heavy sections hit harder. Hidden Mothers may not have much music available yet, but their set marked them out as ones to watch.

Curse These Metal Hands

Curse These Metal Hands are essentially an in-joke that the entire crowd is in on, members of Conjurer and Pijn getting together to have some fun and rip off Baroness’ sound. Throughout the band’s entire set, they repeatedly seek to underscore the point that it was not totally serious, and is just a bit of fun. There’s the walk-on audio, a series of clips from the Channel 4 sitcom Peep Show, from which the band took their name. There’s the T-Shirts each of the band members wear, emblazoned with ‘I can’t believe it’s not Baroness’ in the style of a British margarine brand. And if anyone was still in any doubt, Brady Deeprose has his tongue firmly planted in his cheek as he announces ‘we are Baroness’. Despite this, the music is genuinely great, metal music at its riffy, fist pumping, campy best. Closer ‘High Spirits’ is a brilliant song and gets a huge reaction from the crowd, which fills the tent all the way to the back. They may not be a totally serious band, but the ArcTanGent crowd will surely welcome them back with open arms if they want to play next year.

‘68

“If you ever get the opportunity to play ArcTanGent Festival you should do it… if you’re not in a band yet, quit school” quips singer Josh Scogin to an adoring crowd. Hardcore heroes The Chariot would surely be a shoe-in to play ArcTanGent at some point had they not split up a few months after the festival’s inaugural year. It’s just as well, then, that Scogin’s other project ‘68 exists. The grungy two piece – clad in tuxedos – storms through a joyous set of scrappy, southern fried rock and roll. Their (unfortunately rather short) set culminates with Scogin disassembling the drummer’s kit while he’s still playing, recklessly tossing each drum to a roadie.

Holy Fawn

From the merch on display on Friday morning, it’s clear that ArcTanGent’s patrons are incredibly excited for Arizonans Holy Fawn to take the stage. Indeed, by the time they take to the mainstage, it’s full of bopping heads. Their music has a shoegazey vibe but with heavier elements, the vocals flitting between beautiful cleans and guttural screams. The lighting is genuinely superb, and helps to build the atmosphere for what is an incredible set.

Mother Vulture

There aren’t many bands that walk out at ArcTanGent to Dr Dre’s ‘Still D.R.E.’, but that’s exactly what Mother Vulture do. If that isn’t enough of a clue the Bristolian rockers are here to party, they’re dressed head to toe in white, throwing themselves around the stage with gleeful abandon. “Have we got any AC/DC fans in? Nah, me neither,” jokes vocalist Georgi Valentine, who sounds like a more gruff Brian Molko. Sadly, they don’t draw a particularly big crowd but those that are there have just witnessed one of the weekend’s true hidden gems.

Ashenspire

Glaswegian avant-garde metallers Ashenspire shot to prominence in the UK metal underground in 2022 upon the release of their stupendous record ‘Hostile Architecture’. As they take to the stage, there is a mixture of intrigue and excitement, particularly when the uninitiated spot the group’s saxophonist. They open with perhaps their finest song to date, ‘The Law of Asbestos’ a polemic track about working class suffering in a late capitalist society. The lyrics – already bleak – are absolutely devastating in a live environment as the vocalist yelps “Always three months to the gutter / never three months to the top / another set of fucking homeless spikes / outside another empty shop.” Musically, the whole thing sounds like it could fall apart any minute; a chaotic, cathartic cacophony of misery. Ashenspire’s set certainly leaves an impression, and further cements their place as one of the UK’s most exciting young metal bands.

Jagga Jazzist

ArcTanGent’s curators aren’t afraid of throwing their audience a curveball, safe in the knowledge that the punters are open-minded enough to try something a bit different. This is certainly the case with Norwegian jazz collective Jagga Jazzist, who announce “we’re not gonna play many songs but they’re extremely long,” to rapturous applause. They also got a laugh by declaring their lack of rock music credentials due to the fact that only one of their many members has a tattoo. They are clearly masters of their craft, and their atmospheric and experimental jazz goes down an absolute treat among the crowd.

And So I Watch You From Afar

And So I Watch You From Afar are basically ArcTanGent royalty at this point, and walk onstage to a rabid reception. In what will be no surprise to fans of the band, they play an extremely tight set with a handful of fan favourites. Anyone trying to get into the tent after they’ve started was bang out of luck, there’s barely even room to crowd around the edge while they’re playing. Those lucky enough to get into the tent are going crazy for it, with a particularly big reaction saved for ‘Big Thinks Do Remarkable’. As is all too common at ArcTanGent, the Northern Irish post-rockers appear absolutely bowled over by the reaction to their set by the end. For fans of instrumental music, this is surely one of the sets of the weekend, dampened only by the rain that begins to fall as they trudge out of the tent.

Swans

Noise rock legends Swans are the sort of band that manage to be heavy without the need for shrieked vocals or drop-tuned riffs. It’s no surprise then that their mainstage set is a dark affair, with an hour of eerie, atmospheric music that feels like it goes out of it’s way to make you feel uncomfortable. It is an ethereal hellscape that is at once mesmeric and suffocating, a feeling that is enhanced by the confines of the mainstage tent. They might not be as traditionally heavy as some of the other bands on the bill, but for just an hour, Swans play one of the heaviest sets of the weekend, taking the adoring crowd with them on an unsettling journey to hell.

Sikth

By the time cult heroes Sikth take the stage, the weather outside has taken a turn for the worse and the festival’s open spaces are empty, people seeking refuge by watching bands or heading back to camp. There’s little sense that the crowd for Sikth are merely sheltering from the rain, however, as the crowd laps up every note of their groove-laden progressive metal. There are clearly plenty in attendance who are longtime fans of the band as they sing along to every word the dual vocalists croon and scream at them.

Heilung

Whether they are there just for the day or the whole weekend, a lot of people around the site have clearly come for Heilung, dressed in medieval cosplay or wearing their merch. With good reason too – they are one of the most unique bands in the world, and their set is little short of unbelievable. From the get go, it’s clear that this would be a very different type of performance to everything else on the bill. A front curtain moved aside to reveal the stage done up to look like a forest. With no music behind them, a band member in an antler headdress walks onstage and began waving a tree branch around. They are followed by the rest of the band, dressed like medieval druids and marching on in silent coordination.

It feels like an eternity before the first notes ring out; repetitive chanting backed by various types of percussion. The set largely continues in this vein for 90 minutes, a hypnotic, primal, visceral experience. It’s also incredibly theatrical, those onstage dancing in time to the music with a variety of props including medieval armor and weaponry. They don’t speak to the crowd once, so the illusion is never broken. It doesn’t take much to suspend your disbelief and feel like you’ve hopped in a time machine and gone 500 years into the past. No matter what your musical preferences are, you need to see a Heilung show. It is easily one of the most interesting live shows on planet Earth.

This is the fifth year that Tech Fest has been hosted in Nottinghamshire, at the Showground in Newark, and the location’s compact site puts the whole festival within easy reach, allowing you to get from your tent to the main stage in a maximum of five minutes. The festival’s two stage set up also means you can enjoy the entire line up without worrying about clashes, as stage times are staggered between the two, allowing one band to sound check while another performs.

While the festival officially opens on the Thursday, playing host to a smaller line-up, things get into full swing on the Friday, which is where we begin our Tech Fest journey with Schiermann. The guitar virtuoso’s solo project kicks us off appropriately, supplying all the competencies that typify bands at this festival: superb technical ability, complex and intricate musicality and an endless supply of talent. As an instrumental act, the technical display is impressive but as the set wears on, the lack of central groove means the crowd remain largely static throughout.

With the summer sun reaching almost 30 degrees, and the two indoor stages at Tech Fest being effectively cattle sheds with iron rooves and barely any ventilation, the atmosphere in the stages is stifling, which goes some way to explaining the static reaction to Miscreant‘s raft of heavy songs. On any other day the crowd would be obliged to move around in response to the band’s impressive riffs, but in this energy sapping heat, they’re greeted by a lukewarm reaction to an otherwise solid performance.

Scotland’s From Sorrow to Serenity are next in line to try and inject life into the audience and they fare a little better, managing to elicit some enthusiastic head banging from one corner of the room. Vocalist Gaz King displays an impressive range with both guttural and high pitched screams being mixed in with raspy cleans, and once the initially poor mix is solved, the guitars are punchy and driving. It’s still early in the day, but the crowd is slowly coming out of its shell, thanks to this quartet’s solid offering.

Sensing the energy deficiency, This Is Turin front man Darryl Jones draws on his performance experience to stir the crowd into action. Dropping into the faces of the front row, Jones encourages them to sing along and instructs people to bang their heads in time, and with a classic helping of mass hand clapping for good measure, he elicits the best response so far. It helps balance a lacklustre musical performance that’s not helped by a muddy mix which makes all guitar notes bleed together and bury the snare drum beneath it all. Despite this, it’s a decent offering, punctuated by a great front man performance.

Stepping up in place of Jinjer, who had to withdraw from the festival due to Visa issues, come The Dali Thundering Concept, and they’re greeted by more technical gremlins, forcing them to restart their opening song. Even after this, problems still persist as the massively down tuned guitar gives out a barely audible frequency for the first track, but once it’s corrected the band come into their own. When the three musicians settle into a groove, the riffs are meaty, causing heads to bob, particularly when Sylvain Conier barks over the top to inject some energy. Léo Natele’s occasional solos are also noteworthy moments and emphasise the talent lurking within the band, making for an enjoyable set despite the early niggles.

Despite Exile prove how good the Waghorn Guitars Stage can sound when everything is balanced just right. And this balance goes beyond just their live sound, the Italian act bring the widest ranging metalcore formula to the festival so far, managing to sound melodic and atmospheric as well as brutally heavy. The transitions from driving rhythms with sweeping lead lines to bone crunching riffs is seamless and the crowd finally oblige with a wave of energy, the entire room banging heads in unison and moving their feet. Front man Jacopo Durisotti fuels that atmosphere, commanding the stage and getting in the faces of the front row, capping a fantastic performance that lifts the mood for the rest of the day.

Vola continue the theme of excellent sound quality, their set is the most pristine sounding yet on the Winspear Stage, every note audible despite how low the guitars are tuned. They kick in with an attention grabbing djent-like groove, before Asger Mygind treats us to our first real dose of clean vocals so far, highlighting the melodic tendencies of the Scandinavian act. The band deliver wave after wave of impressive riffs and punchy rhythms and while Mygind’s voice is refreshing among the line-up and technically very good, there are times when it lacks the oomph to match the instrumentals and as such, some choruses lack impact. For the most part though it’s an excellent set that ranks among the most memorable of the opening day.

German riff masters Unprocessed keep the new found energy pumping, packing a massive punch with huge sounding guitars over at the Waghorn Guitars Stage. Between the three guitarists and bass player, the band are definitely leading the contest for most strings on their instruments, but they’re all used to good effect. Ranging from spine crushing, drop tuned riffs to technically noteworthy lead lines and solos, the quintet use everything at their disposal to craft intricate, complex and interesting compositions that come alive on stage and shake the speakers. Doubling up as the band’s vocalist, Manuel Gardner Fernandes’ ability to switch from low, aggressive screams to effective clean harmonies adds yet another string to their already overwhelmingly impressive bow. It’s a thoroughly enjoyable set that has the audience grooving along with every riff.

From the relentless sunshine and the press of bodies gathered there, the Winspear Stage is now stiflingly hot and void of air, but Bleed From Within’s front man Scott Kennedy isn’t interested in excuses, immediately ordering a circle pit as the band take to the stage. The rousing command does the job, pushing reluctant energy into the crowd and as the order is followed by a Wall of Death, Kennedy knows he has them in his grasp. He continues to lead by example, charging back and forth, expending his own energy as he commands the stage. Behind him, the band churn through a standard fare of metalcore, providing heavy riffs for the audience to feed on and for Kennedy to bark his words over. Bleed From Within are the most imposing band to take the stage so far and their confidence and assured stage presence compensates for songs that gradually bleed together as the set goes on.

Voyager bring something completely different to Tech Fest, opening with a track that sounds like a mash up of djenty tech metal and Depeche Mode. The offbeat dance rhythm and electronic effects are surprisingly effective over low, heavy riffs and though Daniel Estrin’s quirky vocals are jarring at first, they’re just another unique ingredient thrown into this curious melting pot of a band. Add glam rock style guitar solos and a keytar for even more diversity and Voyager become one of the surprise highlights of the day. Alongside heavy metalcore acts, it’s no surprise that some people aren’t into it, but those willing to stick it out and experience something different are rewarded with an interesting and unique set that brings the party atmosphere to Tech Fest all the way from Australia.

The Contortionist have come out on top in the battle of the band t-shirts today, with festival goers sporting more with their name than any other on show. With the band a clear favourite among the crowd, anticipation is high as the day’s penultimate band take to the stage. The opener’s pedestrian pace doesn’t kick things off with a bang, but it does highlight Michael Lessard’s superb vocal ability as it saunters through a gentle tempo. The Contortionist’s genre defying sound bends and twists in as many ways as their name would suggest, so this pace doesn’t remain for long, instead bursting into a more aggressive track that sees Lessard switching to screamed vocals, which are just as effective as his pristine cleans. As the set progresses, more styles are ticked off the list, ranging from djent riffs and pulsating drums, to atmospheric passages that are beautifully ethereal when combined with soulful vocal melodies. At times the slower tempos can feel too lethargic and drawn out, but this is a minor niggle in an otherwise excellent set that justifies the anticipation and exceeds expectation.

Tech metal legends SikTh have the honour of closing out the day and the first notable part of their set is the absence of guitarist Pin. The band don’t draw attention to his absence, or offer an explanation, but his lack of presence is certainly felt as the pre-recorded guitar track that’s instead used to accompany co-guitarist Dan Weller often lacks volume and is over shadowed by the live instruments. Regardless, the band press on and with a strong set list that calls upon old favourites like ‘Hold My Finger’, ‘Pussyfoot’ and ‘Skies of Millennium Night’, it’s a crowd pleasing set that ends the day on a huge high. The interplay between co vocalists Mikey Goodman and Joe Rosser is as strong now as it’s been since Rosser joined the band in 2016, signalling that SikTh are very much alive and not just here to provide nostalgia. New material from recent record ‘The Future In Whose Eyes?’ proves they’re still at the top of their game, putting a fitting end to a talent-strewn day at Tech Fest.

MARK JOHNSON

Vocalist Mikee W. Goodman reminisces “We started out playing independent venues back in the day. Some of the greatest shows I’ve known have been in them. It’s harder than ever for them nowadays, local scenes need support. We’ve not been to Carlisle in a long while! We look forward to that and Milton Keynes. Tunbridge Wells is a classic venue SikTh used to play back in the day – it will be good to be back.”

SIKTH have confirmed they’ll be playing the following shows in February:
02.02 – UK – Carlisle – The Brickyard
03.02 – UK – Milton Keynes – The Craufurd Arms
22.02 – UK – Tunbridge Wells – The Forum
24.02 – NL, Patronaat, Harleem – Complexity Festival
26.02 – DE, Hamburg, Headcrash
27.02 – DE, Berlin – Music & Frieden
28.02 – DE, Cologne – MTC

The song is taken from their third album, ‘The Future in Whose Eyes?’, which was released earlier this year via Millenium Night.

The band will also be playing the following UK/Ireland shows next month.

CEMBER
02 MANCHESTER Academy 3^
03 GLASGOW Garage^
04 BIRMINGHAM Institute^
06 BRISTOL SWX^
07 BRIGHTON Concorde 2^
08 LONDON KOKO^
13 BELFAST Empire* w/ Drakonis + Altus
14 DUBLIN, IRE The Bowery* w/ Dead Label

^ w/ Devil Sold His Soul + Press to Meco
* w/ 7.5 Tonnes of Beard

This new version features both original vocalist Ed Gibbs and current vocalist Paul Green. The original version can be found on the band’s 2007 debut album ‘A Fragile Hope’. For the last year Devil Sold His Soul have been playing shows to commemorate the tenth anniversary of the record with both aforementioned vocalists. Earlier this year they released the record on vinyl for the very first time via Basick Records. This followed their last release which was the 2014 EP ‘Belong ≠ Betray’.

Next month the band will be playing the following UK shows with SikTh and Press to Meco.

DECEMBER
02 MANCHESTER Academy 3
03 GLASGOW Garage
04 BIRMINGHAM Institute
06 BRISTOL SWX
07 BRIGHTON Concorde 2
08 LONDON KOKO

For the last year Devil Sold His Soul have been playing shows to commemorate the tenth anniversary of their 2007 debut album ‘A Fragile Hope’. Earlier this year they released the record on vinyl for the very first time via Basick Records. This followed their last release which was the 2014 EP ‘Belong ≠ Betray’.

Press to Meco on the other hand will be releasing their second album ‘Here’s to the Fatigue’ on the 17th November.

As for the tour headliners, earlier this year SikTh release their third album, ‘The Future in Whose Eyes?’, via Millenium Night. The final UK date of this tour, at KOKO in London on the 8th December, will see the progressive metallers play their 2006 second album ‘Death of a Dead Day’ in full.

DECEMBER
02 MANCHESTER Academy 3^
03 GLASGOW Garage^
04 BIRMINGHAM Institute^
06 BRISTOL SWX^
07 BRIGHTON Concorde 2^
08 LONDON KOKO^
13 BELFAST Empire* w/ Drakonis + Altus
14 DUBLIN, IRE The Bowery* w/ Dead Label

^ w/ Devil Sold His Soul + Press to Meco
* w/ 7.5 Tonnes of Beard

Re-issued by Peaceville last year, it is arguably the band’s most influential record, helping to give birth to the ‘djent’ movement. Dan Weller and Mikee Goodman explained that fans attending the other dates on the tour will be able to vote for which tracks from ‘Death of a Dead Day’ the band will include in their sets.

SikTh Tour Dates
Sat 2-Dec – Manchester, Academy 3
Sun 3-Dec – Glasgow, Garage
Mon 4-Dec – Birmingham, Institute
Wed 6-Dec – Bristol, SWX
Thu 7-Dec – Brighton, Concorde 2
Fri 8-Dec – London, KOKO