Entering its 11th year, StrangeForms festival promotes the best of post-rock and post-metal to a loyal fanbase that return annually to the Brudenell Social Club: its home since 2018. It’s a sunny weekend, perfect for enjoying a pint in the outdoor seating between bands, with a large video screen showing sports. Part of StrangeForms’ attraction is the atmosphere. Despite attending on my own, I’ve already made new friends today.
It’s a credit to both the festival and the band that when post-metal outfit Birdwitch kick off proceedings at 14:15, a crowd had already gathered. Their slow, enchanting, doom-laden sound provides a gentle and fitting start to the weekend.
With only 30 minutes between sets, the day moves quickly as L.O.E (Last of Eden) take to the stage. Fresh from touring with Nordic Giants, the Halifax four-piece deliver a fantastic set of instrumental post-metal, complete with visuals that complement their soundscapes. The room is packed, and their four-track set flies by all too quickly. It may be early in the weekend, but the bar has already been set high for what follows.
As As Living Arrows add a touch of hardcore to post-metal, they are the first band of the day to really get the crowd moving. Their set consists of tracks from 2024’s Hope and Ruin alongside some new tracks to be recorded the week after the festival.
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Forlorn hit much heavier than the term “pagan metal” suggests, with crunching bass and vocals shifting from raw screams to haunting spoken word chants. At times, the music almost feels industrial. Calling it theatrical feels like trivialising the experience. Vocalist Meg Jenkins stands at the centre of the stage, crowned with branches, commanding the performance with every move.
It’s obvious from the outset that many have turned out to see God Alone. Before the soundcheck is complete, people are already drifting back from dinner. Their math-rock is both catchy and accessible. The five-piece band jump, dance and sing, making it hard to know where to be watching.
Solo project Colossal Squid from drummer Adam Betts feels sufficiently unique for its place high on the bill at StrangeForms. A solo drummer triggering synths makes for a compelling experience. Unfortunate technical issues on the opening track – where Adam’s sound card couldn’t hold up to the bass provided by the Brudenell sound system – were quickly rectified.
The opening track from post-punk outfit Knives barely gets underway before singer Jay Schottlander is pushing the crowd apart to force a mosh pit. The guitarist is in the pit and Jay is calling for stage divers. The energy is infectious, drawing in a crowd that fills the room. For the next 45 minutes, it’s absolute carnage from start to finish.
Spoken word artist Meryl Streek storms onto the stage solo, lit by a pulsating torch as he paces the stage. A damning commentary on the 21st century, it’s hard not to get angry as Meryl snarls about corrupt politicians and growing numbers of homeless families. Performing to a backing track, it would be easy for this to reduce the impact, but the opposite occurs and it gives Meryl the space to breathe on stage. When he jumps off stage and is only lit by a flashing light, it emphasises the intense energy. Seemingly genuinely shocked and surprised to be headlining StrangeForms, he proves he’s earned the spot when the crowd sings along to tracks such as “Paddy” and headbangs to the rhythm of “Counting Sheep.”
Day 2’s review up soon!
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Pics by ECO Pixels UK
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