Financováno z Fondů EHP 2014-2021



Kabinet MÚZ


20. 04. 2022 | 20:00


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Do Brna se vrací Gnod – psychedelický noise rock kolektiv z Manchestru, který svoji omamnou porci psychedelie, dronu, krautrocku, noise rocku a acid post punk provozuje už od roku 2006.



Audio/video projekt hudebníka, který pracuje s temné odstíny jihoitalského/středomořského folkoru a který je podepsán i pod spolupráci na předsposledním album Gnod.



Neandrtál noise-rock


Gnod are a psychedelic noise rock collective from Manchester, England. Since forming in 2006, the group has had an ever-shifting lineup of multi-instrumentalists and vocalists, but some of the group’s key members have included Paddy Shine, Chris Haslam, Neil Francis, and Marlene Ribeiro. Along with their roster, Gnod’s music has constantly evolved and morphed, ranging from hallucinatory Krautrock-influenced folk to dubby, acid-drenched post-punk. Their music is far more aggressive and darker than most bands associated with the modern psychedelic rock scene, having as much in common with Public Image Ltd. or Swans as with Hawkwind or Guru Guru. The group’s lyrics and album artwork often mock religion (particularly on albums like In Gnod We Trust), and are heavily critical of politics and society. Gnod have been acclaimed for their immersive performances and installations that involve audience participation, and they have performed at festivals such as Roadburn and the Liverpool International Festival of Psychedelia.


Gnod made their debut in 2007 with a self-released CD-R titled Abstehen der Ohren. The following year, Sloow Tapes released the group’s cassette The Somnambulist’s Tale. Gnod also collaborated with American space rock band White Hills for the first time, resulting in the limited tour CD-R Aquarian Downer. Gnod released several other limited CD-Rs and cassettes, but their vinyl debut was a self-titled 2009 LP issued by Pariah Child. During the same year, they released a split 7″/CD-R with U.K. doom-psych band Bong, as well as a second collaboration with White Hills, Drop Out. Their third collaboration, Gnod Drop Out with White Hills II, appeared on Rocket Recordings in 2010. The double LP’s sprawling Krautrock-influenced jams made an impact on the modern psych scene, and the album was re-pressed several times over the following years. Later in the year, Not Not Fun released a split 7″ between Gnod and Robedoor as part of the label’s Bored Fortress series.

Gnod kicked off 2011 by sharing a split LP with A Middle Sex, released by Blackest RainbowRocket released In Gnod We Trust in June, and the first of two volumes of Chaudelande appeared on Tamed Records in October. The second followed shortly after in 2012. Gnod released splits with Gammelfleisch and Shit & Shine, and their 7″ single “5th Sun” appeared on Trensmat. The same label also released Gnod Presents Dwellings & Druss, a techno-influenced LP featuring solo tracks by Haslam and Shine. Also in 2013, Rocket issued a CD compiling the tracks from both Chaudelande albums. In 2014, Gnod shared a limited split 7″ with Eternal Tapestry as part of God Unknown Records‘ singles club, and Belgian label Aguirre Records reissued The Somnambulist’s Tale on vinyl.

Gnod’s most ambitious release to date, the double-CD/triple-LP Infinity Machines, was released by Rocket in 2015. Consisting of lengthy hypnotic soundscapes incorporating influences such as free jazz and dark ambient, the album also contained more politically oriented lyrics than their prior work. This continued with the dark, dubby post-punk of 2016’s Mirror, also released by Rocket. Gnod released Behind the Lids, a drone collaboration with Anthony Child (Surgeon), the same year. In 2017, Gnod responded to the political climate with Just Say No to the Psycho Right-Wing Capitalist Fascist Industrial Death Machine. The concert recording Live at Roadburn 2012 was also issued. Gnod swiftly returned in 2018 with Chapel Perilous, which took its name from the philosophical writings of Robert Anton. The record’s release was preceded by the epic lead single “Donovan’s Daughter.” ~ Paul Simpson

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