Gnod - Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine

by Sean Hewson Rating:10 Release Date:2017-03-31

Who puts a run of classic albums together these days? The sort of thing that Stevie Wonder, David Bowie or Neil Young would do in the 70s. A little sprint of three or four, 9 or 10 rated albums in as many years. Gnod are doing it right now with Infinity Machines, Mirror and Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine. And, like Young or Bowie in the 70s, you don't know what they're going to do next.

Feedback, driving drums and then a totally moronic riff start Bodies For Money. They are joined by Paddy Shine shouting from low down in the mix. The energy and anger levels are high, the sound is beautiful. It's somewhere between Hawkwind and Black Flag, with an Anarcho-Punk/Post-Punk edge. The changes between all-out noise and riffing are brilliant and the guitar solo is 'and then my mind split open' insane. People starts with a strange loop and a strange drum pattern. An immense bass comes in. Paddy shouts. A scratchy Post-Punk guitar riff turns up low in the mix. It's quite like Killing Joke. There's not much to this track but it's still exhilarating as Paddy's voice is warped like Gibby Haynes of the Butthole Surfers. Paper Error has a clanging guitar, a noise guitar and then a lurching train of a riff. It's like that really long, repetitive and brilliant version of Mannish Boy that Muddy Waters did in the 70s (I think it's the one on Hard Again). Real Man begins with a drum beat like Midlife Crisis by Faith No More and an extremely fuzzy bass. The guitar riff is so basic it's like Heartbeat by Wire but without the chord change. From this simple base, the intensity builds and builds. The final and longest track, Stick In The Wheel ('I want to be a stick in the wheel, don't want to be a cog in the machine'), is - I'm going to be a bit of a nob here - a Freak's Bohemian Rhapsody. Built on a simple one chord riff and real anger it sometimes breaks into No Wave/Free Jazz, sometimes into Sonic Youth guitar abuse and sometimes just into weird noises; before ending with several minutes of Spiritual Jazz to let us know that there is still hope.

I've heard it said that Gnod were worried about recording this album in a proper studio. When you're on this kind of run, you don't need to worry about anything - not even mortality. First The Moonlandingz and now this. In many ways, we're totally fucked; but, with our new chums beside us, we might just be alright.

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