Fortress Festival 2024 – Scarborough Spa, Scarborough, 01-02/06/24 (Live Review)

What an incredible lineup this is. I mean, just look at it. It’s ridiculous. I’ve never been to Fortress Festival before, (this is its second year), or Scarborough, but this was an event not to be missed. My words below won’t really do justice to what a great festival this was, but hopefully you’ll get a flavour of it at the very least.

Before we get into it – if you’ve ever read one of my live reviews previously you’ll notice that the quality of the photos used here far, far, far outstrips my usual meagre efforts. This is because I didn’t take them. I’m enormously pleased to say that they very talented Aleksandra Hogg captured and supplied all of these photos, and I urge you to check out her work at Acidolka here, here, or here.

Day One – Saturday

Look at all of these bands. It’s non-stop. Both days are stacked, but Saturday is the stackedest. It’s a word, sort of. It’s going to be a long day, but hopefully a very rewarding one.

Sunken

I was eager to make sure I was here in time for Sunken, and I’m glad I did. They take take to the stage wreathed in smoke and near-darkness, their atmospheric black metal wonderfully rendered in dark blue. I could really, really have done without the strobes though. The sound isn’t the best, but then it was never going to be for an opening band. Despite this, Sunken give it their all and I’m drawn into their world easily and without complaint. As the sound improves, so does the band’s impact. What a great way to begin the festival.

Andracca

Unfortunately for Andracca they end up being sacrificed at the altar of food, which is a shame. However, I did see them earlier this year, so if something had to give it was going to be them.

Lamp of Murmuur

I’m genuinely surprised how low on the bill Lamp of Murmuur are. Clearly I have an incorrect view of their popularity. Regardless, they were one of the bands I knew I absolutely couldn’t miss, and they have lived up to my expectations. Lamp of Murmuur are gooooooood. Even their light show is good – understated, mood-based, not flashy or dazzling. As for the music that’s played…well, it just rules. Blackened riffs fly everywhere like they’re going out of fashion, and the band are clearly having a whale of a time. We get treated to a decent variety of Lamp of Murmuur material from a few different releases, (most notably the Immortal-isms of Saturnian Bloodstorm and the Gothic-flavoured Submission and Slavery). All of the songs go down well, but I especially like Dominatrix’s Call. Really great, really satisfying stuff from Lamp of Murmuur.

Waldgeflüster

On to Waldgeflüster now in the smaller Ocean Room stage. The band’s well-crafted music is evocative and even anthemic in places. Boasting a resplendent beauty that can be uplifting in just the right ways, Waldgeflüster’s performance allows these qualities to shine. The sound is strong enough that the melodies and the singer’s clean vocals come through clearly, only boosting the music’s potency. Waldgeflüster play an immersive set that the audience lap up. We even get the Austin Lunn from Panopticon taking to the stage with them, providing guest vocals at the start of Mim Blick aufn Kaiser. The set ends with the singer screaming passionately at the end of The Pit, which brought their performance to a satisfying close.

Obsidian Kingdom

When I bought Obsidian Kingdom’s Mantiis album on CD back in 2012, I never would have thought that 12 years later I’d be watching the band play it in its entirety in Scarborough. Who would have thought? Of all the sets initially announced for this year’s Fortress Festival, this wass not one I was expecting. It’s always struck me as somewhat of an obscure gem, which is probably why the main stage is a lot emptier than it was for Sunken or Lamp of Murmuur. It’s a great album though, so it’s the non-attendees’ loss. It is fantastic to get to experience Mantiis in full, with all of its idiosyncratic charms. The band’s minimalistic stage presence doesn’t extend to the music, which is rich in texture and colour. Avant-garde, progressive, psychedelic, post-metal; whatever you want to call it, it’s an expressive form of atypical blackened metal and today it is entertaining throughout. Obsidian Kingdom are clearly into what they’re doing, and there’s never a dull moment as there is so much going on musically. Top work from this band.

Falls of Rauros

Falls of Rauros are one of those bands I never thought I’d get to see live, (to be honest though, I could also say that about more than a few of the bands playing this weekend). Either way, I’m very happy to be present for their first overseas show. Falls of Rauros play with atmospheric depth, transporting the audience into their world of richly absorbing black metal. Their show is a strong one, with the various moving parts of the music delivered with passion and presence. Travelling from delicate introspection to raging fury, passing along the way various melodic, aggressive, and atmospheric waymarkers, Falls of Rauros captivate throughout. Whatever they do, they do it like they mean it. Like Waldgeflüster before them, they’re joined on stage by Panopticon’s Austin Lunn for their final song Silence. Well then. Falls of Rauros. Live and in the flesh. Really good stuff.

Ultha

Ultha. What can I say about this band? Ultha are one of my absolute favourites, and I’m pretty certain they can lay a strong claim to the title of best currently active modern black metal band in the world. Their set starts with a well-deserved and hearty thanks to Gary Stephenson from Reaper Agency, the organiser of Fortress Festival, (and also Reaper Festival, where I last saw Ultha). After that it’s a breakneck journey into the esoteric and magnificent universe of Ultha. Nobody else sounds like this band. They’ve successfully carved out a niche for themselves in the darkest, most harrowing realms of black metal, and there they are undisputed masters. Unfortunately today they suffer from sound issues, causing their layered music to blur at the edges. Despite this, bathed in monochromatic light and dripping with atmospheric intensity, Ultha still deliver the goods. The band’s 40-minute slot can barely contain the immensity of the four songs that they play, and each one is a world unto itself, albeit a less well-defined one on this occasion. Shame about the sound, but the band are still a phenomenon.

The Infernal Sea

I’m afraid that The Infernal Sea have to go the way of Andracca, which I’m gutted about. At least, like Andracca, I saw them earlier in the year, but still.

Der Weg einer Freiheit

Der Weg einer Freiheit are a band that are an unmissable prospect. Their brand of melodic post-black metal is superb tonight, although also suffers from sound issues. Sophisticated and serrated, the songs are big on atmosphere, big on melody, and just big overall. They’re also witheringly aggressive when they want to be, and this venomous bite translates well live, despite the sound. The melodies, although muted, still cut through the distortion like shards of multifaceted ice. It’s lethal stuff. Der Weg einer Freiheit were one the bands I was most looking forward to today, and they manage to put on a decent set under the circumstances.

Fellwarden

I’m not as familiar with Fellwarden’s music as I’d like to be, (I haven’t listened to Wreathed in Mourncloud for a while), but I still wanted to see them. Unfortunately I don’t catch their entire set, but the roughly 30 minutes or so of what I do see impresses. Fellwarden have a full, well-rounded sound, and their epic soundscapes, (including soaring cleans), are pulled off very well. The songs I hear are very enjoyable, and the band put in a good performance. I’m impressed, especially as it’s the band’s first ever show. Apparently there’s a new album coming soon, so I’ll definitely keep an eye out for that.

Panopticon

Roads to the North is such an exceptional album, and seeing Panopticon play it in full, (or at least a version of it), tonight is a highlight of an excellent day. Bringing such a diverse, multifaceted, and engaging album to life, with all of its nuance, folk instruments, and fiery passion is an ambitious undertaking, but Panopticon rise to the challenge. With so many iconic moments across the album, each song is a tapestry of rich experiential black metal. The violin alone is worth the entry fee. They do essentially miss out The Long Road Part 1: One Last Fire, unfortunately, but I can understand why. The rest of the album is performed with a fresh new live arena life of its own, along with Into the North Woods off Autumn Eternal. They’re also joined on stage for vocals by the singer of Waldgeflüster on In Silence. As for that epic orchestral section in Chase the Grain…oh my. Overall, what a superlative experience Roads to the North live is. Stunning.

Regarde les Hommes Tomber

I narrowly miss not being able to get in for Regarde les Hommes Tomber, but thankfully I’m able to. It’s at capacity, such is the band’s draw. When they start you can see why, as they are a powerhouse of modern black metal that’s riven with sludge heaviness and post-blackened bite. The blast beats are intense, and you can’t fail to move to the thick rhythmic riffs. There’s even the first crowdsurfer that I’ve seen today. The candlelit stage is mood-enhancing, as the band tear through their material with undisguised relish. Regarde les Hommes Tomber play with a power and infernal majesty that I wasn’t expecting; it’s coming off them in waves. Thoroughly enjoyable indeed, really glad I managed to see them. One of the best from today.

Triptykon

Triptykon have only released two albums, but both are stone cold classics. As such, I’ve been massively looking forward to this. Offering a different change of pace to most of the bands playing today, and in possession of some killer riffs, Triptykon hit like a hammer. The band dominate the stage with enviable presence, performing a storming set of absolutely crushing numbers. There’s no frills here, just a great collection of songs played with enthusiasm and character. The band dust off some Celtic Frost classics too, (Procreation of the Wicked and Circle of the Tyrants), which sound heavy as all Hell. I mean, everything does – this has to be one of the heaviest live sounds I’ve ever heard. Seeing the band live also shows the strength of Triptykon’s material, as everything gels together seamlessly from across eras into one jaw-dropping experience. Honestly, every song aired is just great. Personal highlights include the two Triptykon album openers – Goetia and Tree of Suffocating Souls – and the stunning The Prolonging, which I am so happy that they played. If you get a chance to see Triptykon play live, you absolutely have to. Broken, knackered, but happy – it’s then back to the hotel to sleep and recover, before Day Two, and we do it all over again. What a great day.

Day Two – Sunday

Bleugh. I am alive, barely. Today I’m exhausted and feel like I’ve been hit by a truck. But there is a cure at hand – another day of fantastic extreme metal! Yep, another ridiculously strong lineup awaits. Another lengthy day to come, but one with many promises. Buoyed by the excitement of early bird tickets being released for Fortress Festival 2025, with its European exclusive headliner announcement of Agalloch, let’s see what Sunday holds…

Ante-Inferno

And so it begins, with Ante-Inferno. The audience is a little thinner than it was for Sunken yesterday, but then that’s to be expected, as Sunken have quite the appeal at the moment. Beginning with ominous music and infernal red lighting, as well as a video screen of a lone mysterious figure, the stage is set for Ante-Inferno’s brand of atmospheric black metal. Their music is recreated live with a zealous energy that is infectious. I’m a big fan of the stage lighting and smoke, which has been arranged in such a way to simulate a Hellish landscape, on fire, with the occasional flash of apocalyptic lightning. Ante-Inferno provide the thunder. It’s well-rendered and extremely effective most of the time. All of the band members give it their all, but I have to say I like the singer’s voice and passionate delivery in particular. Early on the band are also joined on stage by the singer of Abduction, which adds more fuel to the infernal fire. A very good performance from Ante-Inferno, and a strong start to the day, I have to say.

Blood Countess

I’d like to see Blood Countess, but unfortunately, as with Andracca yesterday, something has to give for food. Hopefully I’ll get a chance to see them another time, as by all accounts they delivered a storming show.

Thy Light

I have heard precisely two Thy Light songs, but I liked them, so knew I wanted to check them out today. Garbed in robes and hoods, as if prepared for an arcane ritual, the band are cloaked in spectral blue darkness as they weave their musical incantations. Thy Light’s atmospheric/depressive black metal rages like a primal force unleashed, followed by sweeping soundscapes of the forlorn aftermath. Affecting melody and malefic energies wash over the crowd in waves, as the music transports to other realities. Yep, I like this very much. The mix of burning intensity, sorrowful doom-laden immensity, and calm, introspective texture is sublime. The vast atmospheric canvas on which the band confidently paint is a joy to witness. Thy Light have made a new convert.

Domhain

Domhain are next in the list. I know little of the band, but as it looks like there’s a very good chance I’ll be seeing them in the not so distant future, I take an opportunity during their set to explore a little and take a breather. This, however, ends up naturally taking me to the Ocean Room anyway, and I’m able to catch some of the band. They give them impression of a folk-infused entity, with atmospheric and melodic components woven into their textured black metal. At least, that’s what it sounds like on the basis of the last roughly two songs or so that I catch, (apparently they only played three in total). It sounds good, whatever it is. I’m put in mind of a mix of Saor, Primordial, and Anathema. Not sure how well this stands up to close scrutiny, but that’s my initial impression. Damn, I wish I’d seen all of their set now.

Vemod

As I enjoyed this year’s The Deepening, it’s time to see what Vemod are like live. Vemod’s music is ethereal and atmospheric, yet has a blunt edge that comes from the harsh snarls of the singer and the aggressive blast beats that underpin the faster sections. Once these are removed, the worldbuilding tendencies come to the fore, powered by melody, ambient keyboards, soaring cleans, and blackened atmosphere. Due to sound issues, Vemod come off better during these slower, more restrained moments. The faster parts tend to melt together in the mix, but the other paces get more of a chance to breathe and expand. This is when I like them the best, and their stage presence is magnified by this clarity of expression. The first song played – Der Guder Dør – exemplifies this. The first half of the song comes across okay, but suffers from the sound, but it’s the second where my attention is firmly held. Repeat over the rest of the set, and you have an enjoyable outing from Vemod, but an uneven one due to sound gremlins. Not everyone can be Thy Light though, who had the clearest sound of anyone on the main stage so far, (outside of the devastating Triptykon). Either way, I’m glad I’ve seen Vemod as they’re a notable band for sure.

Abyssal

I haven’t heard too much by Abyssal – basically their first two albums and a couple of splits– so was intrigued to see what they would be like today. When I arrive they’ve already started, but only just. I’m greeted by huge hulking slabs of distortion, sliding over each other like tectonic plates. There are utterly brutal growls that sound like something monstrous tunnelling into our plane of existence, and a murderous intensity that speaks of daemonic favour. Yep, it’s Abyssal. Dark, heavy, nightmarish. The hooded band members are led by a masked figure that I have to assume is human, although the noises coming from its throat give the lie to that assumption. Across their set the band impose their viciously malevolent vision on the Fortress crowd, who seem only too willing to submit to the cruelty of their overlords. All of which is to essentially say, Abyssal are pretty damn good live. I definitely need to get my grubby mitts on some of Abyssal’s more recent material, as today they hit the mark nicely. Blackened death metal has rarely sounded so evil.

Furia

Furia are an interesting proposition. I like their black metal output, but find their experimental proclivities a bit hit or miss. On last year’s Huta Luna, the band split these two identities down the middle – one half a furious, unrelenting black metal assault, the other an ambient soundscape, (and an instance of this aide of the band hitting, rather than missing). Which brings us to their Fortress performance. Furia explode into blackened violence, unleashing mayhem and carnage in an undifferentiated mass of harshness that’s imposing. Hearing what they’re actually playing is not the point; here the sheer sonic intensity and brute force aggression is what counts. I’d be lying if I said I didn’t enjoy it. The second song is less noisy, as the sound has cleared and focused somewhat, but no less abrasive. After this Furia launch into burst after burst of brutality, and I confess I love every second of it. There is no nuance to be observed, no subtlety to be embraced, just raw chaos shaped into blunt force. Then they shift gear and the sort of mid-paced heaviness that flattens hilltops happens. It’s glorious, and it’s great that Furia are airing more than just the side of their sound that revels in grinding carnage. Overall their set turns out to be a varied one that takes in a few different facets of the band’s idiosyncratic personality, and I’m enthralled as it unfolds. Throughout it all the band are animated and entertaining. I wasn’t sure what to expect from Furia, but they’ve put on a great show that’s a firm attention-grabber. If I get the chance to see them again in the future, I’ll do so eagerly.

Mortiferum

Mortiferum! Now here’s one I’ve really been looking forward to. The band’s death/doom is a change of pace for Fortress, yet also slots in perfectly as a complementary feast of heaviness. And heavy they are. Sounding ancient and cavernous, Mortiferum are crushing. I can’t think of a better word to describe it. Song after song is a hideous display of crushing might. I think the band have pummelled my brain into a more primitive state, and words fail me. Crush. Destroy. Brutalise. Demolish. Punish. Grunt. Roar. Crush crush crush. That’s all that’s left. Mortiferum just slay, mercilessly. The crowd can’t fail to move to the gruesome beat, me included. A brutal highlight of this weekend.

Gaerea

After Mortiferum smash me into a bloody paste I’m slow to pull myself off the floor, (that and I hurriedly fill my face with the fastest of foods). I’m very mindful that a Gaerea-shaped bomb is about to go off. However, I was not at all prepared for what came next. Attired in similar-yet-different masked costumes, this is modern black metal as performance art. Gaerea aren’t just playing, they’re putting on a real show, one that’s strangely and completely absorbing. With a theatrical delivery and spirited stage presence, I’m riveted. It’s hard to take my eyes off the stage, especially off of the captivating singer who knows how to command the audience’s attention so effortlessly. The songs are dynamic and visceral, and Gaerea deliver a truly brilliant spectacle, elevating the source material to new heights. I genuinely don’t want it to end, but it does, and my world is a lesser place without it. Wow. Gaerea were just astonishing. They moved me in ways I still can’t quite articulate properly. It’s something about the combination of the music and the band’s stage performance and how it tells a wordless story, perfectly attuned to the music and the light show. Honestly, it made me so emotional it’s ridiculous. When the band finished I couldn’t even scream my approval as I was so close to tears. This is not typical behaviour for me, let me tell you. I’ll be thinking about this for a while. Phenomenal.

Fluisteraars

Fluisteraars are next, with their first UK show and only their fourth show ever, I believe. I confess that after my experience with Gaerea my heart’s not in it initially, so it takes me a couple of minutes before I adjust to Fluisteraars’ idiosyncratic brand of post-black metal. Adjust I do though, as Fluisteraars are an exceptional band, and it’s a real coup for Fortress to have tempted them over to us. Their performance is on point, and they flood the Ocean Room with their individual style and charisma. It’s great stuff. The singer’s multitude of vocalisations provides an unhinged quality to music that has always felt free-flowing rather than strictly proscribed. It’s an appealing approach to music that’s rooted in black metal, but ranges across moods and textures not commonly touched by the genre’s heart of ice. All of this comes across well as they play, delivering song after song that makes me happy to be here, witnessing the wonders that extreme metal, and black metal in particular, has to offer over this superlative weekend. I enjoyed Fluisteraars a great deal, and am over the moon I got to see them. They even ended with a couple of my favourites – Brand woedt in mijn graf and Verscheuring in de schemering. Excellent.

Blackbraid

Now it’s time for the much-hyped Blackbraid. Personally I think the hype is deserved. I’m a big fan of both Blackbraid I and Blackbraid II, so anticipation is high. I lose time in the transition between stages, so I miss the first couple of minutes, and when I arrive Blackbraid are in full flow. They look like they’re enjoying themselves on stage, as well they should, as their melodic black metal is infectious and well-written. Unfortunately the sound isn’t doing them any favours – it’s tough to hear many of the melodies and riffs – but they power through, delivering the music with passion and energy. The sound does improve somewhat eventually, allowing more of the music’s personality to come through. Live, the songs are rawer and the singer’s voice is more piercing than on album – both adopting a more traditional black metal veneer. It works, regardless. Despite some sound issues, a solid set from Blackbraid.

Misþyrming

There are many bands at this year’s Fortress that I consider must-see acts and/or that I never thought I’d get to see, and Misþyrming are a great example of both. I was apprehensive about getting in, as I know how renowned they are, but I’m in, so all is well. Misþyrming perform very well, and I’m not disappointed. The sound is largely quite strong too, giving the songs the chance to shine darkly. Misþyrming attack their material like it’s alive and they’re trying to force it into submission. It’s great to see a band so enthused by their music, and the impact of the songs increases as a result. The band go down a storm, even earning the first crowdsurfer that I’ve seen today. They play songs from across their three albums, (two cuts from each), and the crowd are clearly loving it. Misþyrming are on fire tonight, giving off explosive energy. Great band, great show. Very happy. Despite being battered, bruised, and tired, I move throughout Misþyrming’s set, as only someone with a poor sense of rhythm and a broken body can. Misþyrming were brilliant.

Wolves in the Throne Room

All of which brings us to the very final band of the weekend – Wolves in the Throne Room, playing the entirety of their masterpiece Two Hunters. I first heard Wolves in the Throne Room when Two Hunters was released, so you’d better believe I’ve been awaiting this performance. With the backdrop of a very atmospheric stage setup and mood lighting, Wolves in the Throne Room do what they do best. Dea Artio unfolds with majestic doom-drenched splendour, and it’s a powerful piece to open with. The band are full of furious energy as they tear through the mighty Vastness and Sorrow with conviction. It’s a great, aggressively atmospheric song, and tonight they do it justice. Following this is the richly expressive Cleansing, with its haunting clean vocals. It’s in possession of a transportive and hypnotic beauty, before the raging tempest of the song’s second half kicks in. The music carries the power of a natural force unleashed. The final song is the epic I Will Lay Down My Bones Among the Rocks and Roots, which is played tonight in all of its considerable glory. A case study in effective, well-crafted atmospheric black metal, Wolves in the Throne Room deliver it with flawless depth and detail. After a ritualistic ambient interlude, (Crown of Stone), the band unexpectedly launch into an additional song, and last of the evening, Queen of Borrowed Light. With its driving riffs, symphonic highlights, and esoteric clawing doom, it’s a fitting end to an amazing weekend. Who could ask for more?

And just like that it was all over. This definitely won’t be my last visit to this exceptional festival, which, apart from the music, was notable in so many positive ways I haven’t been able to remark upon. A huge thanks to the organisers, all of the venue staff, the attendees, and the bands for making Fortress Festival 2024 such a roaring success and a very memorable weekend.