Last Hyena are another Bristolian outfit pulled into Arctangent's gravitational field. Their take on maths/post-rock is laid-back with an almost loungecore lethargy. There is no urgency at play here and to be honest, there does not need to be, they are the first band on and we have a whole day in front of us. Their proggy-like inclinations fit beautifully with their audience’s hung-over state. Very much music to do (a liquid) breakfast to.
Read MoreOne of the Arctangent's beauties is the way that the stages are scheduled. On one side of the site the Arc and Bixlar stages alternate, as do the Yokhai and PX3 stages on the other side. It's all exquisitely organised so that if you are suitably focused you can see around 15 bands in one day, without any clashes and without walking far at all. Our journey through Thursday starts with Traps on the PX3 stage.
Read MoreArctangent is very much the thinking person's metal festival. It's a wonderfully eclectic argumentation of all those "difficult" bands that operate at the fringes of our world. Every act and subgenre that your mainstream Maiden fan would considered as being "odd" is represented here this weekend. Compared to Bloodstock’s beer and amphetamines fuelled masses, this is a much more refined and even cerebral audience. This is not just metalheads with degrees, this is metalheads with doctorates and plethora’s of letters after their name.
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Well, that's went blooming quick. No sooner has it all started than the final day is upon us. But it is all good. The sun is still shining, there are still some alcoholic beverages available to purchase (it's cider but any port in a storm) and we have a brace of bands to watch. The first port of call is Bristolian symphonic metallers Control The Storm. Given the price of fuel these days they must have blown their appearance fee in the first track as there is an awful lot of pyro present.
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It's Saturday morning, the sun is shining and the shuttle buses are shuttling. In fact, I have got very little to moan about, so let's go straight into the bands. Our day starts with Californian natives Dirty Honey who are playing their first show on the shores. Their retro-fuelled sound brings to mind The Black Crowes’ electrifying opening set on these very grounds thirty-one years ago. They share the ability to feel simultaneously authentic but also thoroughly modern. They have taken a much-trodden route and made it very much their own.
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Damnation Festival is at the end of the day a labour of love by a couple of fan boys who felt their distinct tastes in Metal were not be catered for elsewhere. Over the last sixteen years it has morphed, moved and grown, but it has never ever lost its deep-seeded independence. It is that independent spirit that has so connected it with its immensely loyal fanbase, to the point that the festival sold out in March this year, over nine months before the actual show. Damnation is not a corporate money-making exercise, it may now have a capacity of three thousand (soon to be nearer six) and command a headliner of Carcass’s stature, but it is still very much that labour of love for the organisers.
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We ended our Damnation 2019 review by stating that we were already counting down the 365 days till the next one. Well, we got that spectacularly wrong, didn’t we? Damnation 2021 has been a long-time coming and has faced many hurdles during its elongated gestation period. But here we are back together once more at Leeds University Students Union.
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Well it’s day 4 of the festival that never ends. I am already becoming delusional that my permeant home is in fact a canvas shelter in a field and that my adopted family are those people surrounding me. I am struggling to imagine what life was like before I entered the gates on Wednesday. My day beginning with the sludge-tastic Horse called War. With distorted guitars and murky melodies, they manage to blow away the most stubborn of hangovers. Netherhall are progtastic and sound like Marillion fronted by Francis Dunnery (formally of It Bites). Back in the New Blood stage Black Atlas are deftly combining grunge and stoner rock. The result is remarkably danceable, laced with filthy riffs and scuzzy beats. My first visit to the main stage is next for the much lauded Conjurer.
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Friday morning finally sees the main stage splutter into life. By this point we have already had two nights under canvas and are beginning to feel like we are in some Kafkaesque nightmare where we are perpetually doomed to roam the wastes of Catton Hall. It may well be quarter to eleven, but Foetal Juice are determined to make as much nasty primal noise as humanly possible. This is metal at its most puerile and putrefied, and they do a grand job of sending all those hangovers packing.
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And so onto the extra day, essentially a heavy metal take on the leap year. Thursday is a full additional twenty four hours of metal on all stages bar the main one. The lack of big big draws means that the day is one of exploration as we are given the opportunity to try and test many of the exceptional home grown talent that haunt small venues across the breadth of the country. Sophie Lancaster tent opener Mother Vulture turn out not to be Mother Vulture at all and instead much fancied West Midlander’s Fury (though not the Chris and Luke Appleton fronted Fury UK).
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It is sometimes hard to actually discern why we all hold Download in such high regard. Its infrastructure has on numerous occasions left a lot to be desired (putting the second stage in a car park in 2008, those bloody one way systems, last year’s bar queues from hell, I could go on…). It has made a number of questionable headliner decisions (Lost Prophets in ’08, Biffy Clyro in both ’12 and ’17)
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The big story of 2010 was of course meant to be the fact that AC/DC were headlining. A band that had seemed to have become far too big for mere festivals, was lowering themselves to join the rank and file of Aerosmith and Rage Against the Machine. The actual story turned out to be the disruption that the Aussie juggernaut appearance brought to the festival. They refused to be listed …
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John Peel used to describe The Fall as always different, always the same. I'm going to appropriate the phrase to illustrate how I feel about Damnation Festival. There is a wonderful familiarity about the place. After seven years, Leeds University Union feels like a home from home and every nock and cranny is filled with memories. As I enter, it does feel like only yesterday that I was last ...
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