COLLISIONS 03 Split
I saw GNOD supporting Acid Mothers Temple a while back at The Ruby Lounge in Manchester. Ever since then, their balls-out slump fuck of a sound has been keeping me entertained in more ways than one. You ever seen that scene from the movie Private Parts? Yep, you shoulda seen her face! Anyway, after being sent the latest Collisions installment from Rocket Recordings I was interested to hear what the Manchester-based noise leviathans have created.
According to internet folklore GNOD are a rather elusive, ever-changing amoeba who take shape within the darkened walls of Salford’s biggest creative space, Islington Mill. It is there where they bubble and toil over a huge vat of gloopy drones, raspy beats and stodgy bass. On this track though, they have pushed aside the live drums to make way for a darker, much more brooding synthesized beat. Bordering on 'witch house', this mesmerising repetition pulls you into a vortex that resembles a fifteen minute salvia trip. The broadened Manchester accent shouting away in the distance is eerie but strangely comforting (what the fuck does this 'Amy' know? I wanna know too).
The second side is of a very similar ilk to GNOD’s (tedious genre name alert) ‘progressive chamber step’ masterpiece, this time by Texas-based Kraut juggernauts Shit & Shine. With one massive fucked-up ,disjointed amalgamation of noise, techno and guitar they hammer a huge throbbing clusterfuck straight into your ear hole. The guitar sound is pretty much identical to that of Led Zepplin’s No Quarter; this alone gave me a bit of a twitch in the downstairs department. However, don’t let this trite comparison lead you to think that the structure of the track has any other similarity. S&S carve a stuttering delay-charged slab of marble with a sythesised hammer and chisel, to create a monument to their kraut forefathers. From start to finish, I must have looked like a right cunt nodding profusely back and forth like some kinda semi-aroused walking duck. Awesome proggy synth sounds emanate from what sounds like my old Farfisa organ. I might be wrong but if it is they definitely have the ‘Extra Men’ button switched on. (One for the synth geeks…)
Nothing grand happens in either of these tracks, no key changes or huge epic crescendos but is that not the whole point? They don’t become boring after a few listens, I didn’t feel the need to skip on, it just unfolds with newer and more interesting details with each listen.
Posted: Sun 9 September 2012