Thursday, 6 July 2017


"just say no to the psycho right-wing capitalist fascist industrial death machine"
Year:    2017
Country:    UK
City:   Stalford
Label:   Rocket
Format:    CD, LP
Tracks:    5
Time:   40 min.
Genre:    rock
Style:            Krautrock

The lineup: Paddy Shine (guitars, vocals, keyboards, electronics, drums), Chris Haslam (bass, guitars, keyboards and electronics), Marlene Ribeiro (bass, keyboards, electronics), Neil Francis (lead vocals, electronics). The background: Before you've even heard Gnod you can sort of tell they're going to be purveyors of ambient sludge, of prog-metal, of murky motorik psych-drone space-rock. You can tell that Julian Cope might be a fan, that reviewers are going to be drawing comparisons with Ash Ra Tempel, and that they would make people come away from their concerts saying things like: "My head is throbbing like a stained glass window-lined grotto of unconventional thought and atavistic proto-religious impulses. "Probably because "Gnod" resembles a conflation of "God" and "synod", they have an air about them of a quasi-religious sect, a cabal, a secret society. How often they frequent church we don't know, but they are figureheads of a stoner freakscene based around Islington Mill in Salford, and they run experimental electronic live nights there called Gesamtkunstwerk (German for "whole arts work") where they offer "outsider electronics, hardwarped machine rhythms and analogue debauchery all reflecting the postindustrial mill space". They don't have a fixed lineup, members switch roles and they have a punky belief in the dissolution of the boundary between artist and audience to the extent that it is not unlikely to find gig-goers onstage, adding to the instrumental melee. They released an album called InGnodWeTrust in 2011 that won praise for its "krautrock rhythmic patterns, dub effects, electronic manipulations and bleak post-punk vibe", and next month they release their follow-up, Chaudelande, comprising six tracks and one hour and 12 minutes of piledriving percussion and metronomic noise that may, depending on your record collections and age, remind you of anyone from Hawkwind to Loop to Sunburned Hand of the Man. Ten-minute opener Tron could soundtrack a road movie, although it would probably be Mad Max not Two Lane Blacktop. It builds slowly as the drums (systematic), guitars (fuzzed-up) and bass (either a graunchy growl or a seismic rumble, we can't decide) achieve a motorik momentum all their own. Gnod sound as much like Steppenwolf as they do the Stooges, as much like a cult as they do a biker gang, and there is, we've decided, a deliberate use of repetition to denote the Sisyphean nature of existence. Tron features three chords; the next track, Visions of Load, dispenses with such extraneous fripperies and has only two. The band recall Can's ga-ga go-go music while the singer yelps like Alan Vega doused in even more echo.
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