And I still can’t see or hear Gnod without thinking of The Beano, specifically Dennis the Menace’s dog, Gnasher, for whom practically every other word in his speech bubbles began with a ‘gn’ (and probably still does, as the comic, and the strip, are still running, but it’s been a very long time since I’ve seen a copy).
The title of their latest album suggests that there are subsequent volumes planned, and this is, indeed, so, as their Bandcamp page confirms:
‘The latest adventure of this band may never have been intended to celebrate their two-decade anniversary, but as long-time Gnod member Paddy Shine notes, they don’t always have a lot of say in these matters – “I know that we didn’t plan it this way but perhaps it was always in the plan and we just didn’t know it” he notes cryptically. “I guess what I’m saying is that the Gnod thing seems to have its own energy now and certain things tend to take care of themselves”…. “We haven't reflected too heavily on the twenty year mark and maybe we shouldn’t, but I’m glad we are marking it in true Gnod fashion by releasing too many albums” he laughs… In fact, this intrepid first instalment of the ‘Chronicles Of Gnowt’ trilogy covers an alarming amount of sonic territory all on its own.’
Is it possible to have ‘too many’ Gnod albums? Their output is hardly comparable to The Fall or Melvins, but it is notable that of their 12 albums in two decades, five have been since 2020, and 2017-2018 yielded 3.
Long songs and big riffs – big, repetitive riffs – have defined their career to date, and the contemplative pastoral psychedelic folksiness of the ‘Three Tree’s’ interluded, which open each side of the album notwithstanding (it does lend itself well to a vinyl release), they stick with that template here – well, more or less. The emphasis is on atmospheric haziness and a mellow trippiness here.
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First single release ‘Shadow Mirror’ is mid-pace piece with richly hypnotic qualities, before ‘Neptune’ plunges into a swamp of murky strangeness. Most recent single, ‘All Tunnel No Light’ is a slow trudger reminiscent of recent Earth, sustain hanging in the aair between each chord for what feels like an age.
The final track, ‘Ekstasis’ lifts the tempo a little, and marks a shift in approach, too, with some experimental jazz and electro skidding atop the repetitive bass rumblings which provide the spine of the track.
‘Chronicles of Gnowt Vol 1’ is a good album to mellow out to, although probably not ideal if you’re feeling paranoid or on edge, because it possesses levels of strange that are unlikely to help with that.
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