Review by Sheri Bicheno for MPM
UK Tech Fest – 10 years of building a strong, respected event showcasing the finest bands in the metal scene of today, giving underground and newer bands the opportunities to shine amongst some of metal’s household named bands and then some… what a festival!
The atmosphere is the epitome of warmth and has captured the essence of a family vibe amongst it’s festival goers over the years.
Described as the ultimate “mates fest” – it’s plain to see that even online, Tech Fest has been in the hearts of every UK metal festival lover and has built foundations for memories, life long friendships and a stunning experience to take away.
This year being the year that the amazing organisers decide to put the final show on, we’re offered a stunning line up to conclude the years that UKTM have been running – Loathe, Hacktivist, Harbinger, Chelsea Grin, The Five Hundred, Aborted, Crepitation, Born of Osiris and many more to boot included in the line up.
After Thursday evening’s pitching up just in time to see the incredible Harbinger, Friday kicked off with Nottingham two stepping Hardcore outfit Cavekiller.
Ambience with a brutal and tech riff infused twist, the atmospheric elements playing hard with crushing vocals and thunderous drumming is a heavy theme with these guys.
Though stunningly brutal, new track in its live format, Cursed To Suffer, mildly flirts around with some dance style beats beneath the blistering heaviness of the drums and face melting riffs. A stellar start off for the day.
Every time I’ve seen Derby death-tech lads The Cartographer, they’ve totally annihilated the stage and bring a huge fusion of energy with huge gnarly riffs and neck snapping breakdowns. I’m pleased to see that they got given a main stage slot at Tech Fest, totally undeniably deserved.
One of the newer offerings from The Cartographer, blistering track infused with Drum n Bass hints, Red Tape showcases intricate drumming that takes the heaviness to different spheres of the song. Mechanical blastbeats and thundering breakdowns command the pace that hold fast over some tempo change ups to the aforementioned injections of drum n bass.
Accomplished vocals completely give the track depth with high end gutturals and deep screams that deliver a punchy stride with the beats.
Vices comes soon after, one of my favourite new tracks from The Cartographer – we’re given a bit more of an ambient side to the guys with the absolutely smouldering riffs that carve into the track with the low frequency but ultra heaviness of bass tones, electrifying the tones of the track to deliver a stunning and filthy setting over the crowd. Chaotic and beautiful.
Heading back to second stage and we’re met with the the familiar air of gore and horror that renowned grind-death outfit Basement Torture Killings feed into the crowd.
The atmosphere is murky and dim, though don’t let that fool you. BTK have long been terrorising audiences across the UK and Europe, this being the fourth time i’ve witnessed their blood-spattered exhibit and this is by far one of the most sonic assault shows to date. Taking us through offerings of their latest album Lessons In Murder, bludgeoning through some terrifying experiences that entwine the likes of Armchair Psycho or Pure Predator’s false sense of security before in comes the crashing and frenzied attack of Faceless Killer’s pure brutal smashing of the kit entwined with Beryl’s depth of hell-esque vocals.
Having said that, my favourite is always The Rat Catcher, where a complete lobotomy is needed to undergo what comes from the stage. Brother Kain see’s to the gnarly basswork whils Tarquin’s riffs are maddening, doused in filth, his vocals are like teeth ripping into flesh which only intensifies the frenzy of Beryl’s dooming gutturals.
Freshly forged within the past few years, brutal new sounds crafted by London based Cage Fight continue the fusion of genres combining so we’re given a taste of something new and unexpected. Tightly produced hardcore metal mythrilled in together with some technical, progressive, groove infused riffage and the subtle punk notes, we’re taken through a ripping performance that threatens aggression and fury over the main stage room.
Reverating rhythms set the mood for Respect Ends, commanding a fearful warning throughout with anchoring bass notes and disorientating riffs.
Straight off the bat, Nick Plews comes crashing in with some purely venomous wielding of the kit. The hurtling breakdowns lace through technical beats to deliver a serious amount of power with James Monteith’s huge groove fuelled monstrous riffs unleashing a sonic assault forward.
It cannot go unspoken that the unity in the room was exceptionally present, a heartfelt tribute to the great and much missed Trevor Strnad saw the crowd celebrate him together with roars of cheers before the power of Eating Me Alive was unleashed.
Rachel Asp has some pipes that are purely devastating – her energy is bludgeoning and unforgiving.
James, whilst still delivering his exceptional riffs, gets off the stage and straight into the eye of the storm of the crowd, he starts a circle pit and the crowd happily obliges.
I was immensely happy to see this spot had been landed by this next band and after this year’s hard grinding, getting to witness some of these newer tracks live. When a band that you’ve worked alongside put their energy into their art and carve out something a bit extra within their realms of musicianship, therein lies a swell of pride to view them in a live setting. Liverpool’s answer to Slam/Deathgrind Crepitation have been busy at the wheel this year with the newly released album Monstrous Eruption of Impetuous Preposterosity and with a few shows to boot, descend their dark humoured, heavy grottiness onto UK Tech Fest this year.
Vicious Entwattering Of Obstinant Nepotistic Shithouses bludgeons the crowd into mashed potato with a frenzy of technical fuelled riffs and ruthless blast beats combined with some probing, monstrously terrifying duo vocals.
It’s non stop mashing, the set is completely submerged in guitars that grind and set no boundaries for the insane double pedal skills of the kit.
Now, go ask them about that little monster on their newly released threads…
All gathered into the main stage, after the very recent unveiling of Rap/grimecore favourites Hacktivist’s new vocalist – JJ Olifent whom we all knew as the pipes of Borders, it’s JJ’s very first show with Hacktivist at Tech Fest 2023 and laaaaaaad, we were in trouble!
With not a hint of hesitation, after the shimmering techy intro and chants of Ultima Dies, JJ appears alongside J Hurley and unleashes pure energy.
Planet Zero showcases JJ’s very own injection of style into the roaring vocals that Jot Maxi left open for his successor.
The very moment J started his rap verse, the people in the main stage hall were bouncing. A sea of people and non stop movement, the vibe was incredible and a huge pit opened the floor up.
Elevate concludes the sharpness of Hacktivist’s blades with urban synths subtly flowing the track through it’s heavy progressive and groove fuelled riffs with a raw and loud energy that see’s the pits going insane.
Headlining the second stage, another band I was happy to see given a spot to shine – Nottingham legends The Five Hundred were geared up to melt faces.
I’ve been watching these guys go from strength to strength since the beginning and have always found myself totally submerged in the atmosphere they craft.
Heavy, progressive and ambient – some of my favourite elements within metal and these guys have that down every single time.
Through the darkness of their silhouettes through blue and green stage glows, immediately the mood is conjured by frontman Jonathan staring intensely into the crowd before unleashing every fibre of energy The Five Hundred can throw.
Smoke & Mirrors – my most favourite track by these guys, never fails to bring tears to my eyes.
A proggy and punchy riff kicks off alongside Andy’s mesmerising djent ebbed low bass tones to provide the depths for Kelsey’s outstanding kit skills.
Jon’s vocals start out as a blend of gnarling screams and wails that melt and ripple into beautiful clean notes that talk to us of feelings of belonging in the darkness. It’s not until the break about halfway through the song that we see his voice turn into a frenzied and pain fuelled sonic assault that blend into layers of raw aggression over the stunning intricate riffs from Paul and Mark.
A track I never tire of listening to, a track I’ve listened to inside out and never want to let go of..
We’re treated to a peek of a new track that displays a softer and more melodic side to The Five Hundred but doesn’t drag its heels in the realms of slabs of heaviness.
The pits of Tech Fest are rumbling and Jon joins the ranks of the crowd through songs.
I cannot express how stunning The Five Hundred have always been to me. Encapsulating the height of emotion into something that weighs into such heavy and as dark possible isn’t always found in places you’d expect to find. Totally mesmerising.
Headlining of Fridays UK Tech Fest stepped in relatively last minute and made as much a stir as Suffocation would have, Liverpool’s Tech Leviathans, Loathe take to the stage and are greeted by an ocean of people already hyped foe their set.
Aggressive Evolution takes the realms of experimental metal to more layers with Meshuggah and definite Deftones styles etched into the make up of this track. The djenty heartstopping blasts of the kit with the guitars thundering through keep the pace unpredictable and wonderfully heavy which carry the vocals to allow for some absolutely ripping screams… and echoing clean vocals that give off some beautiful atmospheric injections to the mix.
White Hot throws us straight back into the heavier and progressive side of Loathe and still gives me some stunning ambient tones that you’d find in an early to mid 2000’s Deftones album.
It’s a beautiful breath of fresh air in a lot of aspects. Visceral and full of energy, we’re pulled in at first with the smash to the face of blasting metal but soothed with some of the most calmest and beautiful ambience in vocals that are occasionally absent in newer bands.
Beautifully delivered and keeping the crowd moving, Loathe show why they are here as headliners.
Manchester seems to be churning out some of the UK’s most diverse and fresh bands lately.
Heading over to the main stage to catch Blind Summit who combine stunning melodics with slabs of progressive, heavy textures to deliver an immersive sound that plays around with your emotions and different moods.
With a tight djent style from the riffs and basswork, the stunning synth keys combine with the strings to switch frequencies and emit beautiful musicianship to make way for thunderous beats from the kit.
Blind Summit are far more genre and musically fluent than the acute heavy textures would have you believe.
Alexandra Angelini displays vocals that are rippling with beautiful, melodic, clean tones – a nice change amongst a heavy prog band. She really gives so much emotionally charged energy in her vocal delivery which runs beautifully with the stunning technical moods amongst the band. I get a strong note that reminds me of Spiritbox in many ways.
Back to the second stage, one of the most prominently rising Nottingham bands that have surfaced within the last 18 months enter the stage.
Having been at the first Draconian Reign show and the majority afterwards, I was blown away from the very first time they played. They have always delivered a completely absorbing show and have the make up of their musicianship absolutely down.
Approaching the stage the guys are donned in black and immediately the atmosphere is plunged into darkness. Intro The Awakening serves as a dark synthy suspense flowing into heavy technical breakdown riffs to give a taste of what’s to come…
Symphonic Deathcore at its finest moment here at Tech Fest, It Came From Hell serves as one of Draconian Reign’s most popular songs from their first EP Necromantic and is still as striking as ever.
Delivering a frenzy of deathcore melted with blackened elements, sticks and pedal lord Kelsey is a pure machine wielding the devastating blows that blastbeat their way through the track with precision, picking up the odd moments of technical tempo changes that give the filthy mood of Draconian Reign to make space for Cal and James’ face melting and beautifully encapsulating riffs.
The huge chords of the guitars and breakdowns inject a stunning mood, which continues when we come to the chorus that glimmers a melodic yet still purely brutal atmospheric tone.
Andy pummels in with his low frequency stunning bass work that underlines the pure sickening outpour for this track.
This song is one of the best showcases for vocalist James – in my opinion, one of the best vocalists that UK Underground Deathcore has to offer.
Today he told us that he wasn’t up to his best due to a bad throat but this was not a hindrance on his performance – he delivered his vocals all through the set as purely brutal and mesmerising as usual with ranges that encased blackened shrieks around filthy gutturals that flayed your face clean off.
Necromantic sees to it that the crowd are submerged into a pure frenzy. The pits are full of bodies flying all over the place and the hard and filthy breakdown halfway through the song saw the room headbang so hard, necks could break.
Last track Infernal Requiem was taken from the newer offering from Draconian Reign, Tragedy Eternal, released just a couple of months ago and whilst keeps true to the roots of Draconian Reign, displays a step towards a newer sound with more of a nod towards the Death Metal elements that are a part of the make up of the band.
The tempo still drops towards the brutal core side of these guys, but in it’s live setting, Infernal Requiem has some extremely raw Death splinters that root themselves deeply into the song.
I always come away from a Draconian Reign set with my head blown clean off and today was no exception.
Over at the main stage, Technical Deathcore legends Monasteries appear and maaaaaaan, it is so good to see them playing live again.
Force Fed Apathy drowns us in dense venom, blisteringly visceral as ever, the ambience here of Monasteries is one that includes some maddening technical riff tempos that range in between a hard, slabbing and heavy rainfall of chords and intricate melodies to deliver some HELLA power alongside deathly threatening drum wielding.
Josh’s vocals hit unbelievable ranges of depths and styles with a blend of brutal mid-range gutturals and high end screams that support the tech-death tempo of stunning basswork.
New track Alone and Against was released only a few weeks back, with the impending release of Monasteries new album set to be released later in the year.
Alone and Against offers a newer taste of what’s to come with the foundations still laying true to Monasteries, however there are more elements here of hardcore meets experimental deathcore.
After seeing the guys back on stage with the addition of Craig Robertson on guitars, I am hyped to welcome them to Rabidfest later on this year!
Hertfordshire’s answer to Progressive Metal, Vexed arrive at the main stage with a forceful energy to craft a full scale sonic assault, totally grinding guitar and low frequency bass on Willem Mason-Geraghty’s blaring drums. We’re taken down a rabbit hole of intense extremity, mixing guttural Death Metal with more complex rhythms in the live setting for Vexed.
Eastern shamanic echoes open up their set, delivering ambient tones to blend into the stunning technicality of the band.
Where Prog is used to describe themselves, their riffs are sharper and leaves for the prog elements to provide threatening atmospherics and very little room for any other feeling than aggressive and darkened moods.
Vocalist Megan uses venomous growls and soaring beautiful vocals to blend both ranges that delivers a facemelting assault whilst she rages her ambience across the stage, commanding the energy of the crowd.
The groove fuelled chorus and djent elements of the guitars blend into shimmering tones and support the backbone of the stunning kit work displaying some of the most intricate technical breakdowns seen today.
After a queue to get back into the main stage for hardcore legends Kublai Khan TX, the energy is immediately ferocious and raw, there are inflatable hammers in the crowd for first track The Hammer which pulverises the crowd.
Vocalist Matt Honeycutt commands the tone with brutal barks over the depth of chugging basstones.
The pits open up and are in full swing for Theory Of Mind, a track that offers a more grinding and bass fuelled Tech infused side to the band
The basswork is dangerously chuggy with ripping chords of the guitars to combine together with the punishing beatdown on the drums.
Combine the crushing power, pummeling hardcore riffs, and intense vocals that emit brutally honest lyrics addressing some of the serious topics of these days, Kublai Khan TX are a band that continue to use their growth of the last decade to easily resonate with their fans and understand the way of the world.
“We didn’t come here to play games.”.
Wanting to see Belgian Death Metal leviathans Aborted for yonks, finally it was here that I got to witness the pure ONSLAUGHT.
Starting with intro music to Aerosmith’s I Don’t Wanna Miss A Thing created a false sense of security as fans behind the barrier belted the lyrics out and then halfway through the song, an evil distortion came over the track and melted into ManiaCult’s frenzy of venomous riffs and Sven’s (Svencho) earsplitting guttural roar echoes out from the stage.
The stage bathed in red and yellow light effects, its looking sinister as f*ck up there!
The tightest precision of deathly blastbeating wielded from Ken steers the ship on this track, with the outstanding chugging basswork of Stefano creating the way for the maelstrom ahead of icepick hammering riffs and melodic rhythm strings.
The Saw and the Carnage Done offers one last chance at Aborted’s chaos – the powerful tech infused riffs start this speed bullet track off and Sven echoes his roars into the crowd and takes on cleaner but harsh vocals later in the song which makes it no lesser menacing. This is a track that plunges into despair, the downtuned guitars underneath the ripping solos collide with some of the filthiest breakdowns Aborted have on show this evening.
Blew the place to bits.
Headlining the second stage Deathcore rulers from Farnham, Bound In Fear smash straight in with Slam and deathcore elements to give a taste of some of the filthiest, crushing beatdowns and slow tempo riffs. Alex delivers the driving force and power behind the kit straight off the bat with complex blastbeating and churning pedal work.
Cardinal Sin, a song that has never been played live before makes an appearance and starts as a melodic suspension before hammering through the floor with sickening blast beats and heartstopping breakdowns.
Ferocious vocals set the fear in to light the way to our Saturday headliner…
Utah’s prestigious Deathcore giants Chelsea Grin have been going since around 2007, plastering debauchery wherever they go. Intro Suffer In Hell, Suffer In Heaven opens up the space for Tom’s underworldly gutturals to churn out toward the crowd with the backing of some sinuous and heavy technical drum battering by Pablo, directing the many twists of tempo and mood.
Stephen’s guitaring exhibits huge chord shredding to blast through the breakdowns, injecting some interesting textures to the heavy canvas about to be splattered.
Recreant came bludgeoning in so hard and full of spite, Stephen’s winding riffs tore through the stage with it’s chuggy Death infused notes whilst the bullet speed pace of the kit commanded the storm that was about to transpire across the crowd. This song had to be stopped and re-started twice due to the brutal mosh pits and someone needing help.
Making sure the person at the centre was ok, Chelsea Grin continued to splinter apart the stage, inciting the most ridiculously heavy breakdowns, no mercy.
On full destructive mode, Chelsea Grin made some memories this night. Absolutely disgustingly groove fuelled melodies and an injection of ethereal chords concluded the evening and left all in the presence of Chelsea Grin with melted faces.
“You guys are f*cking animals!”
Pure choice for the Saturday headliner.
To see some of your favourite people get to join such events is always a privilege. The last day of UKTF started off with the hum of people quietly recovering from the previous days with the warm and sleepy feeling of a casual Sunday…
So let me tell you, the sheer force of first band of the day, Derbyshire’s hugely underrated but equally outstanding From Her Ashes saw to it that Tech Fest had woken the f*ck up.
Drawing a good sized crowd, vocalist Joe addresses the crowd “What the fuck is up Tech Fest? It’s the last day, let’s make it count.” before launching the band into a stunning merger of melodic groove and tech fuelled sonic assault.
Though there are Hardcore elements present in Joe’s vocal delivery, in a live setting, he takes on a suitably much more Metalcore style that rumbled the entire room. High end screams and depth of absolutely disgusting gutturals entwined with Ashley’s imposing blastbeating kitwork catapulted The Swan And The Serpent into a stunning progressive offering.
Ethereal and melodic Djent elements encase this track, we’re greeted with bludgeoning riffs and grinding basswork underlining, that powers through the stunning melodic solo that shimmers into the track. Mark backs up his part of guitaring with his offering of beautiful clean singing and occasional roars to solidify additional elements of diversity that are present.
Blinded by Hindsight offers blistering djent skilled chords against Joe’s barking vocals that create a melodic undertone and cathartic yet chuggy offering that folds into a few dark and beautiful melodic moments that display the emotionally charged and solemn side of From Her Ashes.
I love when you can be completely encapsulated by music and it takes you into it’s core and consumes your mood, your thoughts and the way you see things around you.
Launching into last song Nemesis, the crowd is already creating the first mosh pit of the day as Ashley’s intricate technical pedal work carves its way through the euphoric melodies of the guitars. Here, Joe’s lovely wife is at the front with their baby, armed with ear defenders, and he goes to them whilst churning out some of his best vocals, embracing them both.
I almost blubbed watching that – beautiful moments deserve to be told and as the finale of their set unfolds, the first band of the last day of the last Tech Fest as we know it has set the bar high and mighty.
I’ve loved these guys for years and I will continue to watch and support their growth. A mighty addition to the Unearthed Music family.
Speaking of which, Unearthed also had another band on the line up whom I have followed since their second ever gig back in 2019. Cambridge lads Akkadian have always left a huge impression on me since that day I just happened upon them at a small gig in Norwich. Their energy is ethereal as f*ck and seeing them go from strength to strength as a newer band, even through the lockdowns, has been nothing short of marvellous.
Akkadian bring something a little bit extra to the table… their ethos addresses ancient Egyptian civilisations, mythology and inter-dimensional cosmic energies.
This creates the space they use to craft some beautiful elements together and should not go unnoticed.
Second Sight blends an atmospheric storm of combined technical guitar riffs and melodic rhythms to introduce the mood of the song. Danny’s vocal range emits striking rasping screams and deep unhinged growls amongst the crashing instrumentals that conjures intense energy amongst the band.
This is the first time I’ve seen Akkadian since the addition of guitarist Max came about and I have to say, these guys were tight and delivered precision beforehand, though Max brings an ambience to the table that wasn’t there as much before.
His offering brings a Deftones air to the mix, using progressive chords that bleeds into Harry’s beautifully structured technical melodies during their showcase of new track, The Devil Has Evolved.
Danny picks up a tambourine and addresses the crowd. “You’re thinking that tambourines aren’t metal. But I’m here to change your mind.”
His ruffling of the tambourine for Serpentine creates an effect that envisions a rattlesnake in a sandy desert under dark starlit skies before Harry and Max wind in with tempo layers of strings and rushing melodics to notch things into gear.
Aaron’s work behind the kit is astounding. His ability to command the pace of such a combination of beautiful, winding melodics and grinding frequencies with his technical double pedal rhythms allow for tempo changes that encase the track into a frenzied but atmospheric delivery. The end is near with subtle rattles of tambourines and a deep progressive instrumental moment that is underlined by Chris’s mesmerising bass tones.
Akkadian are going places. Watch them and listen.
Over to main stage for the first time today and it’s the first time I’m experiencing Hertfordshire offering Defences and LAWDY where have these guys been all my life?
A band that combines clean melodic singing and deep core hitting growls with anthemic elements surrounding their initial sound makes way for metalcore edges.
Something More utilise Cherry and William’s stunning dual vocals to create a merging atmosphere of harsher roaring textures with clean and beautiful singing.
The melodic make up of this band is striking, Owen’s subtle djenty bass riffs under the cosmic melodies stringed melodies from Calum give heartfelt feelings that absorb your emotional energy and churn you inside out.
Kyle executes precision in his explosive kit work and where there are technical and complex beats, he gives the performance of Defences an epic feel energy that entwines with William’s beautiful synth keys.
Defences bring a fresh input to Tech Fests main stage with their stunning metalcore elements and beautiful proggy notes to entice headbanging and anthemic sides to their performance in perfect balance.
Staying at the main stage to witness Yorkshire’s answer to Melodic Metalcore… and what are we met with?
A flurry of metalheads bouncing around to the intro stage music of BOOM BOOM BOOM BOOM! By the Vengaboys.
Charisma is a fine thing.
Having just returned from a three week tour In the states with Spiritbox, InVisions pushed the energy in their return to British soil to exhibit why they are one of the freshest bands in UK Metalcore today.
DVPE see’s bodies flying all over the pit and being carried towards the barriers. A slight more speed metal injection flirts with this track and entices Ben’s gutturals that shake the place up. .
Deadlock is one of the heaviest offerings from Invisions… venemius guitars, crunching riffs and intricate, dynamic drums make up a huge part of this track. Though the vocals are outstanding here with the odd sickening BLEGH and frightening gutturals.
I’ve been blown away by these guys totally.
Oceans Ate Alaska have been making more waves in the last couple years than ever before. I’ve seen them featured on several line ups this past year as well as saw them at the launch party for the newest (and killer) metal bar in Birmingham, Devils Dog Digbeth earlier in the year.
Metamorph doesn’t open in the conventional way you’d think. There are hints of a start of a hip hop track before the filthy riffs edge in over James’ sickening growls. A tech-death sonic assault, OAA’s proggy signature is inked deep into this track though explores clean vocals with some beautiful subtle backing synths
Explosive breakdowns lay down some threatening Deathcore elements and has the crowd’s energy fully engaged.
Blood Brothers is a tempest of pure brutality. James’ vocals take on a range of shrieks that build into clean vocals, though the tempo layers in this song is something that blows me away completely.
Some of the most intricate drumming that balances speeding blastbeating with changes in texture and directions are regularly displayed here whilst the stunning crunching bass work acts as the glue to hold the jaw dropping skill of pace.
One of the most stunning bands of the weekend.
Before we come to the headliner, a moment of unity forms to join Director of Tech Fest, Simon Garrod in a moment of history for the festival.
Simon and his team are on stage and address the crowd in a bid to say goodbye.
The atmosphere is heartbreaking but full of so much love, appreciation and reminiscence of the last 10 years that Simon and his team have been putting their energy into, to bring bands and people alike together, to keep music on the map in this small part of the world and to keep the underground scene alive and well.
Tech Fest has been and remains an integral part of what holds our music community together and I know people that have made life long friendships, families, memories and made dream line ups happen for both fans and artists.
It’s going to be strange for a lot of people every end of June where a Tech Fest shaped void will be… but there is still hope for the future of a comeback or a stripped down version that carries the same family vibe and torch that the hard work of full scale UKTF have held.
Chicago prog leviathans Born of Osiris end the main event with an explosive performance starting with a stunning ambient introduction to the stage before sledgehammering in with Bow Down.
The kit here is bludgeoning. Extremely extensive in double-kick explosions and chugging, colossal sonic assault that relentlessly powers into attack mode.
Angel or Alien is full of groove laden riffs and cosmic synthwave elements that channel through keys and strings to bring a nuclear sound and fun anthemic atmosphere into the halls of Tech Fest.
Heavy and energetic electronic presences in the kitwork combine impressive djent fuelled hybrid technical guitars that bend shapes alongside the vocal diversity of Ronnie for Abstract Art.
A stellar choice to end one of the best festivals around… we hope that one day there will be a comeback, in the meantime never to be forgotten ❤️
Special shout out to the after party bands that i witnessed over the weekend – Vast Slug, Grief Ritual and Seething Akira had the utmost energy for a late night cheeky show and I will be looking forward to working with these guys at a later date.
Photography by Sian Connolly for MPM