Dragged Into Sunlight start a short run of shows in Manchester before hitting Incineration Festival. Vacuous and Plague Pit are in support.

All live photography by Miley Stevens. You can find more of Miley’s brilliant work, here.

PLAGUE PIT

Bristol’s Plague Pit stride onstage to a chiming church bell. The stage is decked in red light and doesn’t waver. The quintet have zero interaction with the crowd, but let the music do the talking. Each passing composition is full of tempo changes and a low end that is truly frightening; the drumming in particular from J.H. Stands out. W.B. Is a formidable prospect on vocals. Whilst cutting a striking silhouette, he elevates sections that are furious but also increases the intensity of slower more melodic moments. As a new-ish band, the five piece clearly have a lot going for them. They leave to an ambient hush after a great reception to their opening half hour.

VACUOUS

Vacuous ramp things further. Having already built a reputation for being able to create a soundtrack to the darkest depths, they arrive in ominous fashion.

Jo Chen’s vocals are unbelievably guttural throughout. He is a diminutive figure, but he possesses a scarily dark vocal prowess that shines. On bass, Zak Mullard runs his fingers up and down the fretboard superbly, helping power the sound with the energetic Max Southall on drums. Throughout the set, Michael Brodsky and Ezra Harkin perforate the dense membrane of Vacuous’ sound with neat solos.

As a collective, the force of Vacuous is furiously impressive. Some of the intricacy and technicality in their delivery ensures they go down a storm with the crowd in Manchester. At one point, a song ends in a cacophony of muffled white noise giving the impression that the PA is broken. It certainly grabs the attention and makes for more unsettling listening. Some passages are fist-pumpingly ecstatic; all open chords and euphoria. These moments are sparse but it’s hard not to grin with glee when it happens. They tee things up for Dragged Into Sunlight perfectly.

DRAGGED INTO SUNLIGHT

Dragged Into Sunlight are a phenomenon in the metal world. They have two full length albums proper that came out in 2009 and 2012 respectively. Since then, smaller releases and splits have emerged. For a limited discography and such a lengthy history as a band, they have a rabid following. This is on show in the merch line that spans the width of the wide venue for the duration of the two support acts. Less and less wares are available as things sell out. Unlike Marduk, you won’t find these threads at Debenhams! (Yes, it’s a thing!)

As a blend of deep, dark and twisted electronica sweeps over the PA, a huge candelabra is erected front and centre of the stage. The whole vibe of the room shifts, knowing that they are in for something spectacular. Whilst the candelabra and candles undoubtedly ornate, flashy stage show this is not. It merely sets the scene for the devastation to come.

A prolonged swell of rib shaking electronic atmosphere precedes the band. Those filming are forced to take down their cameras as there is no way the footage will impress anyone…no one needs five minutes of static to show someone. Perhaps this is the intention. It is important to be in the moment with Dragged Into Sunlight.

VOLCANIC BIRTH

When Dragged Into Sunlight take the stage, it is an aural assault from minute one. The tapes of serial killers punctuate the dissonance in unnerving fashion. On the whole, the sound feels crisper for Dragged Into Sunlight. It is 2009’s Hatred For Mankind that makes up the set on this night. It is an album that still showcases the bands extremity perfectly.

Strobe lights illuminate various goat skulls atop amps as white light pulses frenetically to the music. Having taken my slot next to the sound desk, it was cool to see the lighting technician playing along with the music. Boiled Angel and Buried With Leeches are the opening two tracks, with Volcanic Birth following.

The opening 20 minutes of the show are mesmeric. Everything shakes and the band play up a storm. The red lights return as more disorienting soundscapes swarm. This respite lies in tatters as the onslaught continues. At the front, the crowd are super lively and plenty of people lose their shit in the aisles, as it were.

WATCHING, WAITING…

As Dragged Into Sunlight are a largely faceless band, playing with their backs to the crowd, it’s like the skulls are doing the forward facing work of the band. They watch the crowd as the band cut silhouettes through the lighting. The candelabra/candles act as a barrier between band and audience. Not to play on the puns, but the more the band play, the more they drag you over to their side.

The second half of Hatred For Mankind is even gnarlier than the first, if that is at all possible. Lashed To The Grinder & Stoned To Death is a real standout. Richard Kuklinski’s voice rings out before Dragged Into Sunlight set the dial to pulverise. It is hypnotic and harsh. Manchester gets increasingly more lively as the epic sound has no escape in the tight confines of the venue. I, Aurora is the next epic. Both this, and ‘Lashed’ make up around 20/25 minutes of the set. It relentlessly pummels and it is absolutely superb.

People get releases from music in many different ways. Some sing, some hum, some tap their feet. None of that applies here. Dragged Into Sunlight grab you by the scruff of the neck and own you…completely. They are fearsome in their quest and are masterful in putting on a show that demands your attention. It is absolutely not for everybody, but those that subscribe, know. They know they will leave satisfied.

Get a sense of Dragged Into Sunlight live with this video of the band in action at Damnation Festival in 2024.

Dragged Into Sunlight: Website

Vacuous: Bandcamp

Plague Pit: Bandcamp

At The Barrier: Facebook / X / Instagram